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Scanned  from  the  collections  of 
The  Library  of  Congress 


Packard  Campus 
for  Audio  Visual  Conservation 
www.loc.gov/avconservation 


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EYE  SHADOW 


EYEBROW  PENCIL 


(tfnsiani  (^Jheauiijiers  for  ilxe  (Sj 


Delight  Evans,  Editor 

May,  1930 


THIS  MONTH'S  PROGRAM: 


Cover  —  Billie  Dove.  Painted  by  Rolf  Armstrong 

Sound  News.  By  Evelyn  Ballarine     ....  6 

Movies  in  the  Air.  By  Julia  Shawell    ...  8 

Confessions  of  the  Fans.  Letters  from  Readers  10 

Honor  Page  —  Winifred  Westover    ....  14 

Education  Made  Painless. 

A  Drawing  by  C.  D.  Batchelor    ....  16 

Editorial.  By  Delight  Evans   17 

Jazz,  Gershwin,  and  Me.  By  Oscar  Straus  .    .  18 

The  Hollywood  Haters. 

By  Herbert  Cruikshank   20 

Vive  La  France!  By  Marie  House   22 

The  Girls  Behind  the  Stars. 

By  Ralph  Wheeler   24 

Yes,  It's  a  Conference.  By  Brian  Herbert  .  .  26 
Gloria  Swanson  PsychO'Analyzed. 

By  James  Oppenheim   28 

Stars  Who  Never  Saw  Hollywood. 

By  Rosa  Reilly   30 

Chaney  Comes  Back.  Lon  Chaney. 

By  Bradford  Nelson   32 

Fantastic  Hollywood.   Cecil  Beaton's  Impres- 
sions of  Cinema  City  as  told  to  Rosa  Reilly  34 

Cecil  Beaton's  De  Luxe  Gallery  of  Stars' 

Portraits  35-50 

Won  By  a  Voice.   Charles  Bickjord. 

By  Keith  Richards   51 

Bob  or  Grow?  By  Helen  Ludlam   52 

A  Gift  from  Joan  and  Doug,  Jr   54 

Meet  the  King.   Dennis  King. 

By  Frank  Vreeland   56 

Hollywood  Party  Nights.  By  Grace  Kingsley  58 

"I  Knew  Them  When."   By  Ronnee  Madison  60 

Marie  Dressler.  By  Polly  Moran   62 


Polly  Moran.  By  Marie  Dressier   63 

On  Location  with  "Numbered  Men." 

By  Helen  Ludlam  64 

'Gally'  Grows  Up.  Joan  Bennett. 

By  Will  F.  Portman   66 

The  Most  Beautiful  Still  of  the  Month  .  67 

Joan  Crawford  —  A  Portrait   68 

Alice  White  —  A  Portrait   69 

Charles  Farrell  —  A  Portrait   70 

Janet  Gaynor  —  A  Portrait   71 

Walter  Pidgeon  —  Portraits    72 

Vivienne  Segal  —  Portraits    73 

Harlem  Honey.  Studies  of  Lila  Lee     ....  74 

Stanley  Smith  —  A  Portrait   7^ 

Jack  Holt  —  A  Portrait   77 

William  Haines  —  A  Portrait   78 

Norma  Shearer  —  A  Portrait   79 

Beauty  and  The  Bunny. 

Alice  White,  Bernice  Claire  and  Company  80 

Blanche  Sweet- — -A  Portrait   82 

The  Best  Lines  of  the  Month   83 

Reviews  of  the  Best  Pictures. 

By  Delight  Evans   84 

Critical  Comment  on  Current  Films   ...  86 

Revuettes  of  Other  Pictures   88 

In  New  York.   By  Anne  Bye   90 

Come  into  the  Kitchen  with  Lucile 

Gleason.   By  Sydney  Valentine    ....  92 

Keeping  Fit  Beautifully.  Screenland's  Beauty 

Department.  By  Anne  Van  Alstyne  ...  94 

THE  Stage  in  Review.  By  Benjamin  De  Casseres  96 

Hot  from  Hollywood.  T^ews  and  Gossip  .    .  98 

Ask  Me.  By  Miss  Vee  Dee  104 

thanks,  vanity  fair.    By  the  Publishers      .    .  .130 


Vol. 
XXI 


Published  monthly  by  Screenland  Magazine,  Inc. 
Executive  and  Editorial  offices:  45  West  45th  Street, 
New  York  City.  William  Galland,  President; 
Joseph  M.  Hopkins,  Vice-President;  C.  B.  Mantel, 
Secretary.  Frank  J.  Carroll,  Art  Director.  Manu- 
scripts and  drawings  must  be  accompanied  by  return 
postage.      They    will    receive    careful    attention  but 


Screenland  assumes  no  responsibility  for  their  safety. 
Yearly  subscriptions  $2.50  in  the  United  States,  its 
dependencies,  Cuba  and  Mexico;  $3.00  in  Canada; 
foreign,  $3.50.  Entered  as  second-class  matter 
November  30,  1923,  at  the  Post  Office  at  New  York, 
N.  Y.,  under  the  Act  of  March  3,  1879.  Addi- 
tional  entry   at   Dunellen,   N.    J.     Copyright  1930. 


No. 
1 


Member  Audit  Bureau  of  Circulations 


for     May  1930 


5 


WORLD'S  GREATEST  MUSICAL  COMEDY! 


I 


Here  is  sheer  delight  from  first  to  last — 
a  gorgeous,  glittering,  star-studded  screen 
musical  comedy  with  song  hits  galore,  in- 
cluding "Sweeping  the  Clouds  Away"  and 
'"Any  Time's  the  Time  to  Fall  in  Love," 
hilarious  comedy  bits,  flashing  dance 
numbers,  dazzling  Technicolor 
scenes  .  .  .  Paramount,  with  18 
years  of  supremacy,  is  proud  to 
name  it  "PARAMOUNT  ON  PA- 
RADE" and  send  it  to  you  as  the 
world's  greatest  musical  comedy! 


4 


CREAM  of  SCREEN 
and  STAGE  STARS 

(Listed  in  alphabetical  order.  Read  the  entire  list 

RICHARD  ARLEN  -ft  JEAN  ARTHUR 
WILLIAM  AUSTIN  -ft  GEORGE  BANCROFT 
CLARA  BOW  -ft  EVELYN  BRENT  *  MARY 
BRIAN  -it  CLIVE  BROOK  -ft  VIRGINIA 
BRUCE  -ft  NANCY  CARROLL  -ft  RUTH 
CHATTERTON  *  MAURICE  CHEVALIER 
GARY  COOPER  -ft  LEON  ERROL*  STUART 
ERWIN  *  STANLEY  FIELDS  -ft  KAY 
FRANCIS  +  SKEETS  GALLAGHER 
HARRY  GREEN  -ft  MITZI  GREEN  -ft  JAMES 
HALL  -ft  PHILLIPS  HOLMES  -ft  HELEN 
KANE  -ft  DENNIS  KING  *  ABE  LYMAN 
and  his  BAND  -ft  FREDRIC  MARCH 
NINO  MARTINI  -ft  DAVID  NEWELL 
JACK  OAKIE  *  WARNER  OLAND 
ZELMA  O'NEAL  -ft  EUGENE  PALLETTE 
JOAN  PEERS  -ft  WILLIAM  POWELL 
CHARLES  "BUDDY"  ROGERS  *  LILLIAN 
ROTH  *  STANLEY  SMITH  *  FAY  WRAY 

Supervised  by  Elsie  Janis 
Dances  and  ensembles  directed  by  David  Bennett 

PARAMOUNT  PUBLIX  CORPORATION 
ADOLPH  ZUKOR,  PRES.,  PARAMOUNT  BI.DG.,  N.  Y.  C. 


(paramount 


"If  it's  a  Paramount 
Picture  it's  the  best 
show  in  town!" 


(pictures 


SCREENLAND 


DOES  MOTORING 
MAKE  YOUR  EYES 

SMART? 

If  so,  apply  a  few  drops  of 
harmlessM urine  when  you  get 
home.  It  instantly  ends  irri- 
tation; banishes  the  tired, 
heavy  feeling,  and  clears  up 
the  unsightly  bloodshot  con- 
dition that  often  follows  ex- 
posure to  sun,  wind  and  dust. 

Many  persons  useMurinedaily 
and  thus  keep  their  eyes  al- 
tvays  clear  and  bright.  60c  at 
drug  and  department  stores. 


1H 


VRML 
eiy'es 


Modern  Art  Pays  Big 


Money 


In  this  Age  of  Color 
.  .  .  the  demand  for 
art  work  is  creating 
hundreds  of  big-pay 
opportunities.  Manu- 
facturers, decorators, 
publishers. . .  are  seek- 
ing men  and  women 
with  art  training. 

Through  the  Federal 
course  many  have 
found  fascinating 
careers.  Hundreds  of 
Federal  students  now 
earn  from  $2500  to 
$6000  a  year.  Learn 
at  home  in  your  spare 
time  the  Federal  Way. 
More  than  fifty  famous 
artists  contribute  ex- 
clusive lessons  in  illus- 
trating, cartooning, 
-£ia  lettering,  designing. 
Send  us  your  name,  age,  occupation,  and  ad- 
dress, and  we  will  send  our  book, 
"A  Road  To  Bigger  Things," 
and  Vocational  Art  Test  free. 

Federal  School  of  Illustrating 

5240~  Federal  Schools  Building 
Minneapolis,  Minnesota. 


5ound  ^A(ews 


By 

Evelyn 
Ballarine 


Impressions  of  Pictures 
Now  Being  Produced 


AS  a  rule,  it  is  customary  to  end  a 

/\  tale  with  a  moral  but  just  to  be 
/  V  unusual  we'll  start  off  with  "New 
-^Morals."  Ruth  Chatterton  and 
Clive  Brook  are  responsible  for  this  change. 
We  always  approved  of  their  old  morals 
but,  of  course,  we  are  always  anxious  to 
learn  something  new,  so  bring  on  your 
"New  Morals,"  Miss  Chatterton  and  Mr. 
Brook — we  await  them  with  much  interest. 

Which  reminds  us  of  William  Powell 
and  his  film  behavior.  Bill  was  in  pictures 
for  years  before  he  attained  stardom.  But 
no  matter  how  small  his  part  in  a  film,  he 
managed  to  make  his  performance  stand  out 
■ — consequently  he  'stole'  many  pictures. 
He  'stole'  so  many  that  the  officials  at  Par- 
amount could  ignore  it  no  longer  so  they 
made  a  film  crook  out  of  him  and  starred 
him  in  many  underworld  dramas.  "Street 
of  Chance"  is  his  latest  successful  crook 
film.  His  next,  however,  will  be  the  fur- 
ther adventures  of  Philo  Vance  in  "The 
Benson  Murder  Case." 

Those  of  you  who  found  the  stock  market 
crash  serious  drama  will  have  a  chance  to 
laugh  it  off  because  Marie  Dressier  and 
Polly  Moran  are  making  a  burlesque  of  the 
perils  of  Wall  Street. 

It  looks  very  much  as  if  our  two  prod- 
igal boy-friends  will  return.  Meaning 
Emil  Tannings  and  Adolphe  Menjou.  Jan- 
nings  left  Hollywood  when  sound  pictures 
arrived.  He  went  to  Germany  and  made 
"The  Blue  Angel,"  a  talker,  under  the  di- 
rection of  our  Josef  von  Sternberg.  An 
English  version  of  "The  Blue  Angel"  was 
also  made  which  will  be  released  in  America 
soon  and  it  is  rumored  that  Emil,  himself, 
will  follow  shortly.  Adolphe  Menjou  went 
to  France  to  make  pictures.  He,  too,  made 
English  versions  of  his  French  films. 
Adolphe  is  a  little  homesick  for  Hollywood 
and  is  now  on  his  way  to  these  United 
States  and  we  hope  he  decides  to  remain. 

Clara  Bow's  next  picture  may  be  "True 
to  the  Navy."  This  is  to  be  a  companion 
picture  to  "The  Fleet's  In."  Clara  will 
play  a  drug-store  cowgirl  with  a  great, 
big  heart.  "The  Humming  Bird"  has  been 
postponed  in  favor  of  the  gobs'  circus. 

Hungry  movie  fans  please  note:  Nancy 
Carroll  is  making  "Come  into  the  Kitchen," 


retitled  "Honey,"  and  Mary  Astor  is  al- 
ready there  "Cooking  Her  Goose."  Yum, 
yum! 

Jack  Mulhall  is  making  "The  Fall  Guy" 
from  James  Gleason's  successful  stage  pro- 
duction. Pardon  us,  but  we  just  couldn't 
help  suggesting  good  old  He  Faw  Down 
and  Go  Boom  for  a  theme  song. 

Benny  Rubin  is  sure  of  a  'hit'  in  his  new 
baseball  picture,  "Hot  Curves."  Slide, 
Benny,  slide,  we're  all  rooting  for  you;  but 
remember,  Benny,  over  the  fence  is  out. 

Jack  Dempsey's  play  "The  Big  Fight"  is 
to  be  brought  to  the  screen  but  not  with 
Jack  Dempsey.  'Big  Boy'  Williams  is  to 
have  the  leading  role.  Estelle  Taylor's  part 
will  be  played  by  Lola  Lane.  Ralph  Ince 
and  Stepin  Fetchit  will  have  important  roles, 
too. 

Ben  Lyon  is  at  Universal  making  "What 
Men  Want."  The  answer  must  be  blondes 
because  Mary  Nolan  has  the  feminine  lead 
in  this  picture. 

"Forever  After"  is  to  be  remade  into  a 
talker  with  Loretta  Young  and  Douglas 
Fairbanks,  Jr.  Remember  Mary  Astor  and 
Lloyd  Hughes  in  the  silent  version?  And 
so's  "Charlie's  Aunt"  to  be  remade.  This 
perennially  successful  laugh  classic  of  the 
stage,  written  thirty-eight  years  ago  and 
played  in  practically  every  language  includ- 
ing the  Chinese,  will  be  filmed  by  Christie 
Films.  Syd  Chaplin  was  starred  in  the 
silent  film  a  few  years  ago. 

Mary  Lewis,  Metropolitan  grand  opera 
star,  has  entered  into  a  talking  picture  con- 
tract with  Pathe.  This  contract  between 
the  noted  singing  star  and  the  film  company 
is  unique  in  theatrical  history  as  the  agree- 
ment was  wholly  made  without  signature, 
the  arrangement  being  consummated  before 
the  microphone  and  cameras  for  recording 
on  sound  film.  No  other  contracts  or 
written  agreements  were  made,  Miss  Lewis' 
verbal  contract  being  as  binding  as  if  she 
had  put  it  in  writing. 

Miss  Lewis'  first  vehicle  already  in  prep- 
aration, will  be  a  story  built  around  her 
own  career.  It  should  be  interesting.  Mary 
was  glorified  by  Ziegfeld  before  she  became 
a  grand  opera  and  movie  star. 


for     May     19  30 


7 


VITAPHONE 

PRESENTS  THllsiAR OF  DISRAELI  I N  ANOTHER  AMAZING  ROLE 


H  ehad  the  manners  of a  Chester field — ^  Js^  — and  the  blood-lust  of  a  Borgia  ! 


His  wit  was  as  keen  as  his  executioner's  sword — 
his  conduct  as  refined  as  his  cruelty  .  .  . 

Dispensing  barbaric  vengeance  in  a  dinner  coat, 
he  flicks  a  cigarette  lighter  as  he  mounts  the 
altar  to  administer  the  ancient  blood -rites  of  the 
fearful  Goddess  of  his  savage  race  .  .  . 

And  his  phonograph  furnishes  the  music  for  a 
tribal  dance  of  death! 

In  portraying  this  amazing  blend  of  civilization 
and  savagery,  GEORGE  ARLISS  in  "THE 
GREEN   GODDESS"  matches  the  mastery  of 


his  classic  performance  in  "Disraeli",  officially 
voted  "the  best  picture  of  1929"  by  the  film 
critics  of  the  nation. 

Mere  action  could  never  convey  the  subtle 
shadings  of  this  strangely  fascinating  character — 
despot  of  a  forgotten  corner  of  the  world  .  .  . 
But  thanks  to  Vitaphone  the  famous  voice  of  Arliss 
evokes  every  atom  of  the  consumate  cunning,  sly 
guile,  and  polished  perfidy  that  made  "THE 
GREEN  GODDESS"  a  companion  masterpiece 
to  "Disraeli"  in  Arliss'  blazing  stage  career! 


It 


GEORGE 

THE  GRG£ 


Vitaphone"  is  the  registered  trade- 
mark of  TheVitaphone  Corporation. 


ARLISS  in. 

GODDESS'' 


Vitaphone  pictures  are  produced  exclusively  hy 

WARNER  BROS,  and 
FIRST  NATIONAL  b^) 


SCREENLAND 


e^OVIES  ///  the  cAl^ 


Radio  and  Screen  are  Developing 
Artists  on  a  Co-operative  Basis 


By 

Julia  Shawell 


IN  THE  old  movie  days  when  you  had 
to  read  the  answer  in  the  hero's  eyes 
or  wait  for  the  sub-titles,  casting  of  pic- 
tures was  a  matter  of  visual  appreciation. 
A  producer  looked  once,  and  then  if  he 
were  interested,  he  looked  again.  Now  he 
glances  at  the  prospective  heroine  and 
then  he  listens.  For  it  is  the  ear  more 
than  the  eye  which  must  be  satisfied  in 
this  audible  celluloid  era. 

No  longer  is  the  fallible  judgment  of 
a  man  the  deciding  factor  in  an  actress' 
feminine  charm  or  in  an  actor's  sex  ap- 
peal. It  is  the  little  inanimate  but  un- 
failing microphone  which  tells  the  story. 
The  same  instrument  which  made  and 
broke  radio  careers  is  the  most  important 
instrument  in  advancing  the  screen  activi- 
ties of  the  new  recruits  and  of  keeping 
the  questionable  places  of  those  who  got 
in  before  sound  came  to  the  film  theaters. 
It  is  the  microphone  which  is  the  un- 
sympathetic, immovable  bond  between  the 
radio  entertainer  and  the  flicker  star.  For 
now  not  only  must  the  screen  actor  have 
talent,  a  figure  and  a  face  that  will  pass 
the  casting  directors  but  his  voice  must 
be  one  of  the  type  that  will  take  to 
recording  requirements.  And  until  a  per- 
former has  heard  the  playback  of  his  own 
voice  in  that  exacting  mechanism  he  can- 
not know  whether  he  has  a  future  in 
Hollywood  or  just  a  past  in  Iowa. 

Because  of  this  similarity  of  require- 
ment in  broadcasting  and  in  talking  pic- 
tures, the  two  industries  will  draw  closer 
not  only  in  a  business  way  and  in  their 
mechanics  but  in  their  sources  of  talent 
and  their  interchanges  of  programs.  We 
have  been  told  that  when  television  is  an 
accepted  commercial  medium  of  transmis- 
sion, talking  news  reels  will  be  sent  into 
the  theater  on  wireless  waves  and  that 
possibly  some  day  while  we  are  still  going 
to  the  movies,  feature  productions,  too, 
may  be  projected  in  the  same  amazing 
manner.  That  is  a  supposition  for  future 
fulfillment. 

Already  the  radio  broadcasting  organi- 
zations are  associated  in  a  financial  way 
with  some  of  the  movie  producing  com- 
panies. Paramount  owns  the  powerful 
Columbia  chain.  Radio  Pictures  is  con- 
trolled by  the  same  organization  which  is 
also  interested  in  the  Radio  Corporation 
of  America,  the  National  Broadcasting 
Company,  the  General  Electric  Company 
and  a  score  of  other  powerful  units.  In- 
dividual stations  are  owned  or  operated 
by  movie  concerns  and  every  picture 
producer  today  depends  for  his  equipment 
on  manufacturing  companies  allied  with 
the  radio  interests.  So  that  financially  and 
technically  the  movies  are  dependent  upon 
radio. 

But  as  both  industries  develop  they  will 
become  more  closely  allied  in  their  pro- 
grams   and    instead   of   having   two  great 


fields  of  artists,  independent  of  each  other, 
names  and  figures  in  the  two  entertain- 
ment mediums  will  be  developed  on  a 
closer  co-operative  basis. 

The  movie  vamp  of  a  few  years  ago 
never  dreamed  that  to  get  a  renewal  of 
her  contract  she  would  have  to  show  some 
radio  sex  appeal  nor  did  the  great  lover 
of  the  talkl  ess  era  think  that  a  lisp  or  an 
accent  would  remove  him  from  the  sheik 
lineup. 

Talking  pictures  have  made  emotion  a 
matter  of  vocal  control,  laughs  are  all  in 
the  words  and  passion  a  trick  of  intona- 
tion. A  player  not  only  has  to  look  that 
way,  but  talk  it,  and  to  get  any  conviction 
into  his  voice  he  has  to  feel  what  he  is 
saying.  Cameras  and  trick  lights  won't 
put  illusion  into  a  phlegmatic  performance. 

No  silent  player  has  caused  more  com- 
ment than  Greta  Garbo.  Everybody  has 
waited  for  her  first  words  across  the 
screen.    Would  she  be  a  literal-mouthed 


Winnie  Lightner,  screen  and  radio 
star,  has  a  talent  all  her  own. 
Here  she  is  broadcasting  one  of 
her  songs  over  the  Columbia  chain. 


person  who  would  sweep  away  with  her 
first  utterance  all  the  mysterious  charm 
she  had  built  up  around  herself?  Or 
would  she  be  the  nice-voiced  kind  who 
would  belie  her  realistic  siren  creation  of 
pantomime?  "Anna  Christie"  answers 
everything  and  what  an  answer!  Throb- 
bing, pulsating  sounds  that  arrest  the 
listener,  that  suggest  everything  but  tell 
nothing. 

Al  Jolson  didn't  break  box-office  records 
in  "The  Jazz  Singer"  and  "Singing  Fool" 
on  his  face  alone.  Maurice  Chevalier  has 
mastered  pantomime  exceptionally  well  but 
he  could  never  have  vied  with  John  Gil- 
bert in  the  old  days,  but  there  is  no 
comparison  between  the  box-office  possi- 
bilities of  these  two  men  for  the  next  few 
seasons. 

Pauline  Frederick  had  a  voice  that 
thrilled  stage  audiences  for  years.  It  was 
deep  and  emotional  but  it  was  too  much 
like  thick  rich  cream  to  pass  through  the 
microphone  and  so  although  her  voice 
was  more  impressive  across  the  footlights 
than  Ruth  Chatterton's,  the  latter  proved 
better  adapted  to  talkie  requirements. 

Vilma  Banky,  the  most  exquisite  blonde 
in  pictures,  has  had  her  career  seriously 
affected  by  the  talkies.  There  is  no  con- 
sistent place  for  her  Hungarian  gutterals 
in  a  field  that  is  being  populated  by  purists 
in  speech.  Look  what  the  microphones 
did  to  May  McAvoy.  Look  what  they 
are  doing  for  such  movie  unknowns  as  Ann 
Harding,  Fredric  March,  Claudette  Col- 
bert, the  Marx  Brothers,  Will  Rogers, 
Lawrence  Tibbett,  Dennis  King  and  all 
their  Broadway  friends  and  enemies. 

Could  Messrs.  Tibbett  and  King  have 
made  a  go  of  it  without  their  songs  to 
put  them  over?  It  is  very  doubtful. 
Would  Winnie  Lightner,  who  has  a  talent 
all  her  own  for  getting  fun  out  of  popular 
ditties,  have  ever  won  a  chance  in  Holly- 
wood under  the  old  regime? 

Every  player  who  is  under  contract  to 
any  big  company  now  and  those  who  are 
making  big  money  free-lancing  have  voices 
with  'It'  or  that  or  a  something  that  sets 
them  apart  from  the  mob.  This  is  a 
period  that  deals  artistic  death  to  the 
beautiful  but  dumb,  that  will  keep  stupid 
girls  in  the  chorus  and  dull  but  gorgeous 
creatures  away  from  Hollywood  so  that 
real  talent  will  have  a  chance. 

Talkies  in  their  rapid  development  have 
been  a  mixed  blessing  and  curse  but  they 
are  bringing  nearer  to  actuality  a  proper 
equation  in  the  casting  offices.  There's 
many  a  leading  lady  who  had  her  name  in 
Broadway  lights  because  her  face  and  her 
contours  made  good  camera  material,  who 
will  be  glad  to  make  the  Oshkosh  and 
Reading  circuits  after  she  has  opened  her 
mouth. 


10 


SCREENLAND 


CONFESSIONS 
of  the  FANS 


FIRST  PRIZE  LETTER 
$20.00 

I  am  practically  sightless,  and  still  en- 
joy the  motion  picture,  deriving  from  it 
much  inspiration,  encouragement  and  sus' 
tained  hope. 

There  are  days  when  I  become  morbidly 
discouraged  and  feel  as  though  it  would 
be  a  blessing  to  abandon  my  work  and 
fall  beneath  my  despairing  efforts;  but  in- 
stead,  I  choose  the  best  motion  picture  in 
town  for  refuge. 

There  I  find  people  battling  with  un- 
thinkable complexities  and  discouragements, 
many  degrees  worse  than  my  own.  They 
are  strong  enough  to  stare  failure  in  the 
face  with  undaunted  spirits.  They  have  the 
same  ambitions,  heartaches,  hopes  and  the 
same  emotions  as  I,  and  win. 

And  so  for  a  brief  period  I  live  in  my 
imaginary  tomorrow.  I  begin  to  feel 
ashamed  of  my  cowardice,  and  success  for 
me  seems  less  uncertain  if  I  will  only  stick 
to  it. 

The  advent  of  the  all-talkie  has  proven 
a  complete  solution  of  my  problem,  but  I 
still  enjoy  the  silent  picture  with  the  help 
of  a  reader. 

I  never  could  do  without  the  motion 
picture  and  my  indebtedness  to  this  source 
of  inspiration  can  never  be  fully  repaid. 

J.  Marshall  Parham, 
1032  Greenwood  Cliff, 

Charlotte,  N.  C. 

SECOND  PRIZE  LETTER 
$15.00 

To  educate  the  youth  of  this  grand  and 
glorious  country  is  a  paramount  duty,  and 
where  can  they  receive  a  better  education 
than  from  the  movies?  The  sense  of  sight 
is  the  most  poignant  of  the  senses,  and  that 
which  the  sight  registers  on  the  brain  is 
not  easily  forgotten.  My  two  daughters, 
aged  13  and  14  years,  both  sophomores  in 
high  school,  would  rather  attend  a  movie 
than  the  hottest  high  school  party  or 
dance.  Any  stray  quarter  they  get  always 
buys  a  movie  magazine,  and  when  they  are 
reading  this  or  seeing  a  picture,  I  at  least 
know  where  they  are! 

They  studied  "Evangeline"  in  grade 
school  and  were  delighted  to  see  Dolores 
Del  Rio  portray  a  favorite  heroine.  They 
also  saw  "The  Ancient  Mariner"  some  time 
ago,  and  now  they  are  studying  this  in 
high  school;  and  how  much  easier  and 
more  interesting  it  is,  having  seen  the 
picture. 

Some  of  my  friends  do  not  approve  of 
movies  for  girls.  It  brings  them  in  con' 
tact  with  too  much  of  life,  they  contend. 
Why  not?  The  serious  business  of  life 
is  just  around  the  corner  for  them,  and 
they  will  surely  profit  by  their  make-believe 
experiences. 

Mrs.  Mary  Redeker, 
328  South  State  St., 

Springfield,  111. 


This  is  YOUR  department,  to 
which  you  are  invited  to  con- 
tribute your  opinions  of  pictures 
and  players.  For  the  cleverest 
and  most  constructive  letters,  not 
exceeding  200  words  in  length,  we 
offer  four  prizes.  First  prize, 
$20.00;  second  prize,  $15.00;  third 
prize,  $10.00;  fourth  prize,  $5.00. 
Next  best  letters  will  also  be 
Printed  Contest  closes  May 
10,  1930.  Address  Fans'  Depart- 
ment, SCREENLAND  MAGAZINE,  45 
West  45t/i  Street,  New  York  City. 

The  Editor 


THIRD  PRIZE  LETTER 
$10.00 

To  one  like  myself,  who  finds  more 
pleasure  in  books  and  nature  than  in  any 
form  of  social  entertainment,  moving  pic- 
tures have  brought  complete  enjoyment. 
In  our  town  we  would  be  without  such 
mental  stimulant — for  we  have,  no  opera 
house — if  it  were  not  for  the  motion  pic- 
ture theater. 

To  those  who-  can  get  away  for  an  oc- 
casional diversion  it  is  an  enlightening  ex- 
perience to  see  the  rapt  expression  on  the 
faces  of  some  women  from  the  surrounding 
country  who  make  a  Saturday  pilgrimage 
to  town  with  the  'picture  show'  as  supreme 


Ann  Harding  came  to  the  screen 
with  sound  pictures  and,  like  the 
talkers,  she's  staying. 


attraction.  What  a  world  of  fascination  is 
unrolled  before  their  longing  eyes!  What 
magic  of  sound  weaves  its  enchantment 
around  them!  If  for  nothing  else  but  the 
happiness  it  brings  to  these  beauty-starved 
natures,  the  screen  should  receive  highest 
classification. 

It  first  gave  us  inimitable  pantomime; 
then,  the  dramatic  charm  of  the  speaking 
voice  and  the  inspiration  of  music.  Such 
perfect  pictures  as  "Devil  May  Care," 
"Disraeli,"  and  "The  Laughing  Lady"  are 
the  finest  of  the  fine  arts. 

Lilian  W.  Carter, 
Thornton  Avenue, 
Dalton,  Georgia. 

FOURTH  PRIZE  LETTER 
$5.00 

"Of  what  use  is  a  book  without  pictures?" 
asked  the  immortal  Alice  just  before  she 
fell  down  the  rabbit  hole  into  a  Wonder- 
land of  thrills  and  surprises. 

"Of  what  use  is  a  motion  picture  without 
being  extraordinarily  advertised?"  asks  the 
picture  fan,  and  the  answer  to  that  ques- 
tion is  immediately  apparent.  The  com- 
panies vie  with  one  another  in  taking 
beautiful  adjectives  and  intriguing  phrases 
out  of  the  dictionary  with  which  to  em- 
bellish their  advertisements.  And,  picture 
fans  everywhere,  the  really  amazing  part 
about  this  kind  of  public  promulgation  is 
its  truth. 

Alice  herself  didn't  get  any  bigger  thrills 
in  her  wonderland  of  fiction  than  the  pic- 
ture fan  gets  in  his  wonderland  of  movies 
that  talk,  sing,  and  are  presented  exquisitely 
in  natural  colors,  making  the  whole  a 
pleasing  and  spectacular  form  of  enter- 
tainment. 

After  one  has  seen  such  splendid  pro- 
ductions as  "Sally,"  "The  Virginian," 
"Condemned,"  and  "Rio  Rita"  he  becomes 
convinced  that  pictures  are  all  their  adver- 
tisements claim  them  to  be. 

George  Jackson, 
211   Oak  Street, 

Ludlow,  Ky. 

Then  and  Now 

After  a  hard  day  at  school  —  one  of 
those  days  when  everything  goes  wrong — 
we  are  saved  from  a  case  of  the  blues  by 
attending  the  local  theater  and  forgetting 
Euclid  and  the  kinetic-molecular  theory 
in  the  fascinating  characters  of  the  silver 
screen. 

As  proof  of  the  marvelous  progress  in 
pictures  I  recall  a  game  of  my  early  child- 
hood. When  my  sisters  and  I  were  very 
young,  our  father  took  us  to  the  movies 
on  Saturday  night  as  a  reward  for  having 
been  good  during  the  week.  Maybe  one 
of  us  had  been  stealing  cookies  or  pulling 
the  kitten's  tail  and  had  to  stay  at  home. 
So  the  fortunate  ones,  on  their  return,  acted 
out  parts  of  the  play. 

From    this    philanthropic    practise  came 


for    May     19  30 


T  the  end  of  the  rainbow,  'tis 
said,  there  lies  a  pot  of  gold. 
But  just  around  the  corner  there 
lies  happiness,  which  is  much  better.  For 
in  your  neighborhood,  as  in  all  others, 
is  a  theatre  where  one  of  these  clean, 
clever,  amusing  talking  comedies  will 
help  you  to  shed  your  worries  in  a  round 
of  laughter.  And  laughter  means  happi- 
ness—and health. 

No  wild  goose  chase  here!  Just  look 
for  the  show  that  includes  one  of  these 
short  feature  laugh  hits.  It's  sure  to  be 
a  better  show. 

'Watch  especially  for  these  .  .  . 
They're  among  the  most  popular  short 
comedy  hits  of  the  season 

"MATCH  PLAY"— The  champions,  WALTER  HAGEN  and  LEO  DIEGEL, 
with  Andy  Clyde,  Marjorie  Beebe  and  Bud  Jamison,  in  a  MACK  SENiNETT  Short 
Feature  Comedy  of  fine  golf  and  fine  fun.  You'll  like  it  just  as  much  if  you  never  saw 
a  golf  hall. 

"DAD  KNOWS  DEST "—JACK  WHITE  knows  how  to  bring  out  the  best 
in  laughter— and  does  it  in  this  fast  farce  featuring  Taylor  Holmes,  with  Helen  Bolton. 

"WESTERN  KNIGHTS  "—BABe  Lambert,  with  his  Yiddish  dialect,  and 
Al  St.  John,  with  his  daring  acrobatics,  make  this  MERMAID  Comedy  a  scream- 
ingly funny  t»vesty  on  the  western  "mellers." 

"PRETZELS  "— Zwei  bier3  and  a  lot  of  laughs  at  Paul  Terry's  clever  cartoon 
capers  in  the  latest  of  his  new  TERRY-TOONS. 

"HE  TRUMPED  HER  ACE"— Kibitzers  and  bridge  fiends  beware! 
This  MACK  SENNETT  Comedy  is  a  redouble  in-bughs. 


Sdutaticnals^Talkinq  T9cmedie 


"THE  SPICE  OFTHE  PROGRAM" ' 


EDUCATIONAL  FILM  EXCHANGES,  Inc.,  E.  W.  HAMMONS,  President 

Executive  Offices:  1501  BROADWAY,  NEW  YORK,  N.  Y. 


12 


The  inimitable  Douglas  Fairbanks 
continues  to  lead  in  the  field  of 
good  screen  entertainment. 


our  game.  During  a  meal,  one  of  us 
would  cry,  "This  is  how  they  eat  in  the 
movies,"  and  lift  her  food  to  her  mouth 
in  jerky  motions.  The  same  applied  to 
turning  the  pages  of  a  book,  walking,  or 
any  action  that  was  represented  on  the 
screen  by   unnatural,  staccato  movements. 

It's  interesting  to  note  the  contrast  be- 
tween  such  crude  attempts  and  the  glorious 
revues  and  dramas  that  today  make  us 
forget  ourselves  and  our  troubles. 

Beatrice  Slocombe, 
16  Hancock  St., 
Lexington,  Mass. 


The  Mecca  of  Dreams 

A  wonderful  dream  of  romance,  success, 
joy,  health,  wealth,  and  happiness  all  come 
true.  This  is  what  movies  bring  before  our 
eyes  and  make  our  castles  in  the  air  a 
reality. 

Oh,  what  joy  to  slip  into  a  darkened 
theater  from  a  busy  turmoil  of  a  day 
and  there,  for  several  hours,  let  our  tired 
minds  drift  with  the  beauty  of  love,  be 
soothed  with  sweet  melodies  of  song  and 
uplifted  to  the  very  heights  of  happiness. 

How  wonderful  that  such  an  experience 
can  be  enjoyed  by  all  of  us,  rich  and  poor 
alike:  it  is  surely  worth  more  than  anyone 
can  ever  estimate.  We  leave  the  theater 
with  uplifted  hearts,  with  a  light  of  hap- 
piness shining  in  our  eyes,  and  a  memory 
never  to  be  taken  away.  How  many  times 
we  live  it  over  in  days  to  come  walking 
once  more  through  the  beauty  of  it  all. 

May  movies  live  forever  and  even  con- 
tinue  to  bring  the  assurance  to  us  all  that 
dreams  can  come  true. 

Mrs.  M.  M.  Swartz, 
40  Wyard  Crescett, 
Rochester,  N.  Y. 


Thanks  to  Douglas  Fairbanks ! 

A  few  years  ago  my  little  brother  was 
on  the  ebb  of  life.  Naturally,  we  humored 
him  in  every  way  we  could  and  when 
Douglas  was  to  appear  in  our  neighborhood 
in  "The  Black  Pirate"  I  granted  my  small 
brother's  wish  and  took  him  to  see  the 
picture. 

He  sat  crouched  back  in  his  seat  just 
a  bundle  of  sore,  achey  muscles — his  bright 


eyes  riveted  upon  Doug  as  he  swung  from 
one  scene  into  another.  All  he  said  was 
"Gee,  Sis,  I  wish  I  could  be  like  him!" 

From  that  day  on  he  worshipped  Doug. 
He  asked  the  doctors  to  let  him  walk  in 
the  fresh  air  and  tried  every  possible  way 
to  help  himself.  Gradually,  strength  came 
back  to  him  and  he  started  doing  the  tricks 
he  had  seen  his  idol  do.  He  built  him 
a  little  hut  and  called  it  "The  Gaucho 
Den."  He  organized  a  club  known  as  "The 
Masked  Riders."  This  club  made  startling 
and  wonderful  things  —  sabres,  carved 
knives,  guns  and  ropes.  When  Doug's 
pictures  came  to  town  they  went  in  a 
group,  then  returned  to  try  out  the  tricks. 

Today  my  brother  has  a  fine  body  and 
superb  health.  His  idol  and  pattern  is 
still  Doug  and  to  him  we  owe  our  undying 
gratitude. 

Clara  L.  Woffke, 
1230  North  Temple  Ave., 

Indianapolis,  Ind. 
 -  

She  Likes  Gilbert's  Love-Making 

John  Gilbert's  performance  in  "His 
Glorious  Night"  was  a  supreme  achieve- 
ment in  love  making.  How  he  managed 
to  put  so  much  beauty  into  those  over- 
used words  "I  love  you"  is  beyond  me. 

Then  came  criticism  about  Gilbert's  voice 
— and  I  wonder  what  the  public  wants. 
It's  pretty  tiresome  to  have  all  our  actors 
singing,  dancing  and  talking  and  hardly 
one  attempting  that  most  difficult  thing, 
speaking  love  lines  on  the  talking  screen. 
So  our  brave  hero  Gilbert  tries  it  and  what 
does  he  get  from  his  once  adoring  public? 
I  ask  you,  is  it  fair? 

Mrs.  H.  Sokol, 
116  Oak  Street, 
Wilmington,  Del. 


Gary  Cooper:  A  Rhapsody 

The  wide  blue  heavens — the  vastness  of 
out-of-doors — the  graceful  swaying  of  forest 
giants  high  up  against  the  horizon — in  all, 
the  suggested  strength  of  Gary  Cooper! 

As  Gary  strides  into  view  he  is  "The 
Virginian."  In  his  masterful,  yet  gentle 
way  he  runs  away  with  the  picture.  His 
code  suggests  moral  strength  as  powerful 
as  those  ranges  out  of  which  he  came  rid- 
ing.    Yet  he   reveals  kindness   and  deep 


7  he  John  Gilbert  voice  has  been 
the  subject  of  much  discussion — 
pro  and  con. 


SCREENLAND 


Barry    Norton's   friends    will  be 
glad  to  know  that  he  has  signed 
a  contract  with  Paramount. 

understanding  in  his  dealings  with  the 
mountain  people.  He  portrays  the  character 
with  amazing  completeness.  The  highest 
place  of  honor  to  the  long,  striding  Gary! 

H.  Kling, 
1119  Indiana  Street, 

Vallejo,  Cal. 


For  Ann  Harding 

Thanks  to  the  talking  screen  that  has 
brought  into  prominence  talent  that  many 
of  us  would  never  have  known. 

A  type  somewhat  rare  on  the  screen,  I 
believe,  is  Ann  Harding.  She  appears  to 
refined,  so  cultured,  and  her  voice  has  ac- 
quired such  perfect  diction  that  one  would 
walk  miles  to  hear  her.  Such  naturalness 
of  manner,  and  speech,  such  pleasing  per-' 
sonality  and  rare  beauty  is  seldom  seen. 
She  combines  well  all  that  is  beautiful  and 
best  in  pictures. 

It  is  a  real  inspiration  to  see  such  talent 
as  Ann  Harding  and  Fredric  March,  who 
played  with  her  in  "Paris  Bound,"  possess. 
May  we  see  more  of  them. 

Miss  Jane  E.  Harrick, 
510  West  Madison, 

Lansing,  Mich. 


A  Barry  Norton  Fan 

The  ways  of  producers  are  beyond  the 
comprehension  of  my  feeble  brain.  It  al- 
ways struck  me  as  weird  that  some  company 
did  not  for  its  own  profit  as  well  as  for 
the  welfare  of  the  cinema  art,  exploit  the 
talents  of  Barry  Norton.  No  player  on 
the  screen  has  received  more  unanimous 
and  consistent  approbation  for  brilliant  work 
in  minor  roles. 

I  have  followed  his  career  with  vivid  in- 
terest since  his  memorable  'Mother's  Boy' 
in  "What  Price  Glory."  His  marvelous 
work  as  Lieutenant  Dashwood  in  "Legion 
of  the  Condemned"  where  he  faced  death 
before  a  firing  squad  appealed  to  me  as 
being  the  finest  single  bit  of  acting  I  have 
ever  seen. 

Yet  the  producers  do  not  recognize  the 
potentialities  of  such  talent.  But,  of  course, 
they   are  men.     That  explains  it! 

Crocella  Mullen, 
1030  Echo  Park  Ave., 

Los  Angeles,  Cal. 


for     May  1930 


13 


The  Sensational 
Talking  Picture 

TRIUMPH 

of  the  Celebrated  Beauty 


MA  BAN  KY 


By  Special  Arrangement  With  Samuel  Goldwyn 


Gorgeous,  glorious,  glamorous  Vilma 
Banky,  famous  star  of  many  notable 
screen  successes,  now  brings  the  full 
flower  of  her  beauty,  the  full  mastery 
of  her  art — to  this  great  talking 
picture  written  by  the  famous  Amer« 
ican   playwright,   Sidney  Howard. 


Like  a  flame  in  the  dark,  her  youth  and  beauty 
light  up  the  lonesome  years  of  a  middle-aged,  tender 
and  romantic  Italian.  He  represents  to  her  a  haven 
of  refuge  from  a  drab,  poverty-stricken  existence. 
Then  Youth  calls  to  Youth — and  a  tense,  enthrall- 
ing, heart-rending  drama  develops,  laying  bare 
the  human  soul  as  only  the  master  hand  of  a 
famous  playwright  like  Sidney  Howard  can  do.  A 
drama  replete  with  tender  love  interest  —  a  story 
you'll  always  remember!  With  Edward  G.  Robinson 
and  Robert  Ames,  directed  by  Victor  Seastrom. 


ME1  r»v/-GOLDWYN-MAYER 

"More  Stars  Than  There  Are  in  Heaven" 


m 


14 


SCREENLAND 


Winifred 

T^ESTOVER 


wins 

SCREENLAND 

^ONOR 
PAGE 


Above:  the  real  Winifred  Westover.  Her  brave 
Viking  beauty  reflects  a  serene  soul.  Her  own 
life  story  is  more  dramatic  than  most  motion 
picture  plots;  but  her  tolerance  and  under- 
standing helped  her  to  turn  her  trials  into 
material  to  enrich  her  technique.  She  has 
matured  artistically  without  losing  a  vestige  of 
her  girlish  charm  and  quaint,  naive  sweetness. 


Right:  Winifred  is  also  a  most  modern  young 
woman  with  a  sense  of  humor;  and  a  devoted 
mother  to  husky  little  Dill  Hart  the  second. 
She  has  staged  a  great  come-back  and  her 
triumph  is  all  the  more  complete  in  view  of 
the  fact  that  "Lummox"  is  her  first  talking 
film.  It  is  interesting  to  note  that,  like  Greta 
Garbo,  Winifred  Westover  is  of  Scandinavia. 


for     May     19  30 


15 


o 


nce  upon  a  time  there  was  a 
little  girl  with  golden  hair  and 
blue  eyes.  What?  You've  met 
her  before?  No,  no;  this  is 
another  little  girl.  Besides  the  golden 
hair  and  blue  eyes  she  possessed  some' 
thing  much,  much  rarer.  She  had  cour- 
age, of  a  very  remarkable  kind.  It  may 
have  been  the  beautiful  hair  and  the 
wide  blue  eyes  that  put  her  into  the 
movies;  but  it  was  her  courage  that  kept 
her  there. 

Winifred  Westover,  a  real-life  hero- 
ine of  motion  pictures!  A  popular  lead- 
ing lady,  she  married  the  great  big  star, 
Bill  Hart,  and  became  the  mother  of  Bill 
Hart,  Jr.  And  her  screen  career  seemed 
to  be  over.  But  that's  where  the  courage 
came  in!  Winifred  began  a  battle  to 
win  back  her  rightful  place  on  the 
screen.  And,  after  months  of  hoping 
and  waiting  and  praying,  she  won  her 
fight.  The  biggest  acting  role  in  years 
— the  heroine  of  Fannie  Hurst's  "Lum- 
mox"— was  hers.  It  was  not  handed  to 
her;  she  went  out  and  got  it.  She  had  to 
convince  both  Miss  Hurst  and  director 
Herbert  Brenon  that  she  and  she  alone 
was  born  to  be  Lummox.  She  succeeded. 
Her  performance  is  an  artistic  triumph. 
The  little  girl  with  golden  hair  and  blue 
eyes,  still  young,  still  pretty,  still  sweet 
■ — is  very  nearly  a  great  actress.  May 
she  win  other  roles  as  great,  and  play 
them  as  beautifully! 


Above:  as  Lummox,  the  title  role  of  the  screen 
version  of  Fannie  Hurst's  impressive  novel, 
Winifred  Westover  wins  our  Honor  Page.  She 
submerges  her  own  character  in  that  of  the  in- 
articulate, pathetic  servant  girl,  who,  despite 
her  crudity,  still  has  a  craving  for  beauty  in 
her  soul.  Miss  Westover's  performance  in  this 
film    is    one    of    the   greatest   ever  screened. 


Left:  Lummox,  an  old  woman  now,  finds  her 
final  happiness  with  a  family  of  motherless 
children.  The  pathos  of  the  yearning  servant 
girl  grown  old,  who  has  made  so  many  sacri- 
fices for  her  son,  is  fully  realized  by  the 
actress,  who  disdains  to  depend  too  much  upon 
her  ageing  make-up.  Winifred  Westover's 
Lummox  will  move  you  to  heart-felt  applause. 


Education  Made  Painless 


f 


or     May     19  3  0 


17 


THE  EDITOR'S  PAGE 


Where,  oh  where,  are 
the  screen  lovers  of 
yesteryear? 
Will  the  talkers, 
"Stone  Age  of  a  new  art,"  as 
William  Bolitho  calls  them,  kill  off 
all  our  love  scenes?  Well,  look 
around  you. 

C  "Journey's  End"  is  now  being 
screened.  If  you  saw  the  play, 
you  know  it  is  a  womanless  affair. 
No  place  here  in  the  trenches  for 
little  blonde,  or  even  brunette  in- 
genues. Just  stark  realism,  enacted 
by  an  all-male  cast.  Unless  the 
screen  version  shows  flash-backs  to  English  gardens 
with  wives  among  the  hollyhocks,  and  they'd  better 
not,  you  will  see  a  screenplay  without  a  love  scene. 
"All  Quiet  On  the  Western  Front"  is  being  pro- 
duced with  painstaking  fidelity  to  the  book.  You 
already  have  seen  "Men  Without  Women."  And 
the  charming  "Seven  Days  Leave"  in  which  Beryl 
Mercer  is  the  only  femme  in  the  cast — and  doing 
very  well,  thank  you.  If  you  asked  me,  I'd  rather 
see  a  single  close-up  of  Miss  Mercer,  with  sound 
accompaniment,  than  whole  epic  productions  of 
other  ladies  mouthing  their  lines.  But  you  didn't 
ask  me,  did  you? 

<( Nevertheless,  I  do  think  something  Should  Be 
Done.  It's  getting  serious.  Can  we  get  along  with- 
out love?  Don't  answer.  Let  me  answer.  No, 
we  cannot.  Already  the  girls  are  beginning  to  cry 
about  Gary  Cooper  keeping  Mary  Brian  and  Fay 
Wray  and  other  lovely  Paramount  ladies  waiting 
while  he  dallies  with  Beryl  Mercer.  Already  I've 
had  warning  letters  to  the  effect  that  if  Jack  Gilbert 
is  kept  off  the  screen  very  much  longer,  the  writers 
will  take  it  out  on  me.  Me! — and  I  never  did  any- 
thing. Already  several  gentlemen  fans  have  written 
to  say  that  when  they  pay  good  money  to  see  a 
movie  they  want  a  little  something  in  the  way  of 
sweetness  and  light.  I  can  only  refer  them  to 
"The  Love  Parade,"  "Devil  May  Care,"  "Rogue 
Song,"  and  "The  Vagabond  King,"  which  abound 


in  scenes  of  amorous  dalliance. 
But  it  seems  they  want  something 
more.  It  seems  there  is  still  a 
crying  need  for  episodes  in  which 
two  passionate  puppets  forget  all 
about  Will  Hays  and  the  censors 
and  the  old  folks  at  home  and 
their  make-up  and  think  only  of 
each  other — until  the  director  sig- 
nals 'Cut.'  In  other  words,  the 
public  doesn't  seem  to  be  satisfied 
with  the  love  scenes  they  are  get- 
ting but  they  still  want  love 
scenes.  Now,  let's  see.  What 
can  we  do?  Have  Ernst  Lubitsch 
direct  all  the  pictures  produced? 
No,  that  wouldn't  do.  Well,  then,  how  about 
Jacques  Feyder's  suggestion  of  robot  actors?  He 
says:  "It  is  not  impossible  that  mechanical  actors 
energised  by  electricity  and  controlled  by  a  tele- 
vision apparatus  will  rule  both  stage  and  screen. 
People  may  laugh  at  the  idea  of  a  robot  taking 
the  place  of  an  actor,  but  it  is  no  more  fantastic 
than  other  scientific  developments  of  the  last 
twenty  years.  In  a  drama  a  group  of  these  man- 
machines,  with  faces  moulded  from  plastic  mate- 
rials, could  be  moved  from  a  director's  switchboard, 
speak  lines,  do  everything  they  would  need  to  do. 
At  first,  plays  will  probably  be  built  about  such  a 
device,  like  'R.U.R.,'  just  as  a  novelty;  but  later 
they  may  be  used  for  a  whole  cast." 

((Let  me  hear  from  all  who  agree  that  robots,  no 
matter  how  plastic,  can  ever  take  the  place  of 
Greta  Garbo,  Gloria  Swanson,  Claudette  Colbert, 
Richard  Barthelmess,  Chevalier,  Dennis  King — oh, 
finish  out  the  list  yourself! 

<(  Speaking  of  Garbo,  and  we  try  to  in  every 
issue,  Eddie  Nugent  wonders  if  all  the  girls  who 
have  been  copying  Greta's  hair,  her  clothes,  and 
her  walk  will  now,  after  seeing  "Anna  Christie," 
practice  talking  in  a  husky  voice  and  telling  their 
fathers  how  bad  they've  been. 

D.  E. 


18 


SCREENLAND 


"The  Chocolate  Soldier"  and  "The  Waltz  Dream"  are  among 
the  beloved  light  operas  of  all  time.  Oscar  Straus,  their 
composer,  is  shown  in  the  act  of  writing  original  compositions 
for  the  screen.  His  first  motion  picture  operetta  will  be 
for  Vitaphone. 


THE  most  interesting  thing  that  happened  to  me  in 
New  York,  on  my  way  to  Hollywood  to  compose 
Vitaphone  operettas,  was  that  I  had  the  privilege 
of  meeting  George  Gershwin. 
I  had  heard  of  him,  of  course,  and  I  had  often  listened 
with  admiration  to  his  music.    And  when  we  stood  face 
to  face,  with  clasped  hands,  I  thought: 

"This  is  a  meeting  of  Europe  and  America — of  Vienna 
and  New  York!" 

For  my  music  has  always  been,  in  its  very  essence, 
Viennese.  Although  for  the  past  decade  I  have  lived  for 
the  most  part  in  Berlin  and  Paris,  visiting  the  banks  of 
the  blue  Danube  only  from  time  to  time,  I  have  always 
hzen  and  always  shall  remain,  spiritually,  a  son  of  my 
native  city. 

As  for  George  Gershwin — he  is  not  merely  a  product 
of  New  York.  His  music,  it  seems  to  me,  is  New  York 
of  the  present  day. 

We  became  great  friends,  though  our  time  together 
was  so  short;  and  this,  I  like  to  think,  is  a  happy  omen 
of  the  future  relations  of  European  and  American  music. 
We  met  early  in  the  evening,  at  the  premiere  of  a  re' 
vival  of  "The  Chocolate  Soldier;"  and  after  the  perform- 


JAZZ, 

By 

Oscar  Straus 


"The  present  jazz  craze  is  simply  a  fad. 
It  reminds  me  always  of  fireworks  be- 
ing exploded  under  the  eternal  stars. 
Sometimes  a  flight  of  blazing  rockets 
lights  up  the  entire  landscape  with  a 
dazzling  glare;  but  when  they  fall  the 
stars  are  still  shining.  I  have  never 
written  jazz.  I  have  no  intention  of 
writing  it.  It  is  not  my  music." 

— Oscar  Straus. 


mance  Gershwin  took  me  to  his  very  modernistic 
penthouse  apartment,  where  we  remained  until 
half 'past  two  in  the  morning,  playing  the  piano 
and  talking.  First  my  host  would  play,  and 
then  I  would  play;  and  then  we  would  talk 
about  the  things  that  are  of  eternal  interest  to 
men  who  compose  music. 

On  many  subjects  we  did  not  agree — nor  did 
we  pretend  that  we  agreed.  We  were  both 
honest — the  very  best,  and  indeed  the  only, 
foundation  for  friendship.  And  we  both  love 
music.  It  was  one  of  the  most  delightful  even' 
ings  I  have  ever  known. 

Gershwin's  music  is  not  my  music,  but  he  is 
a  genuine  artist.     We  understood  each  other. 
Therein,  I  believe,  lies  a  symbol  and  a  prophecy 
of  the  years  to  come.    The  typical  music  of  the 
old  and  New'  Worlds  will,  in  my  judgment, 
prove  to  have  much  in  common.    They  will  continue  to 
influence  each  other;  stimulation  and  inspiration  will  pass 
back  and  forth. 

This  process  has  already  begun.  I  see  no  limitations 
to  its  future  development,  now  that  the  synchronization 
of  sight  and  sound  on  the  motion  picture  screen  has 
opened  to  music  the  gates  of  a  world'wide  kingdom. 

That  is  why  I  have  come  to  America — to  take  part  in 
the  inauguration  of  the  new  era  in  which,  I  am  satisfied, 
music  is  destined  to  an  expansion  hitherto  undreamed  of 
by  its  most  ardent  devotees. 

For  nowadays,  the  screen  reaches  all  the  world.  From 
the  palatial  cinema  theaters  of  London,  Paris  and  New 
York  to  tiny  movie  halls  in  Asia,  in  Mexico  and  on  the 
Gold  Coast  of  Africa,  this  newest  and  most  amazing  of 
art  forms  may  be  seen  at  work,  amusing  and  educating 
all  mankind.  No  longer  can  it  be  truly  said  that  there 
is  no  new  thing  under  the  sun;  for  in  all  the  history  of 
the  human  race  there  has  been  nothing  like  the  rise  of 
the  motion  picture  to  planetary  omnipresence  in  the  past 
score  of  years. 

And  now  it  will  be  able  to  carry  the  message  of  music 
everywhere. 


for     May     19  30 


19 


Gershwin,  and  Me 


The  Famous  Composer  of  "The 
Chocolate  Soldier"  Writes  His 
Own  Introduction  to  America 
and  the  Movies 

This  will  most  certainly  prove  of  incalculable  importance 
in  the  evolution  of  the  race.  Music  is  of  universal  appeal; 
it  is  a  language  which  needs  no  translation.  And  its 
message  is  a  message  of  beauty,  of  harmony,  which  will 
inevitably  contribute  to  the  unification  of  mankind. 

But  I  do  not  believe  that  the  music  of  the  future  will 
be  jazz. 

To  me,  jazz  is  astonishing;  sometimes  it  is  distressing; 
often  it  is  amusing,  and  sometimes  it  infects  me  with  its 
wild  abandon  so  that,  for  a  fleeting  moment,  I  can  almost 
understand  the  extreme  claims  that  are  occasionally  made 
for  it.  But  such  moods  soon  pass.  The  appeal  of  jazz 
is  not  lasting.  It  is  virile,  emphatic,  strenuous;  but  those 
qualities  are  not  peculiar  to  jazz.  Its  role  in  the  music  of 
years  to  come  will,  I  feel  sure,  be  a  minor  one.  The 
present  jazz  craze  is  simply  a  craze,  a  fad.  It  reminds  me 
always  of  fireworks  being  exploded  under  the  eternal  stars. 
Sometimes  a  flight  of  blazing  rockets  lights  up  the  entire 
landscape  with  a  dazzling  glare;  but  when  they  fall  the 
stars  are  still  shining. 

I  have  never  written  jazz.  I  have  no  intention  of  writing 
it.    As  I  told  Gershwin,  it  is  not  my  music.    But  one  of 


Straus  in  action.    An  autographed  caricature  of  the 
Viennese  light  opera  king  by  Schreiher. 


Hollywood's  most  talented  young  singers  hope  to  be 
cast  in  Oscar  Straus'  screen  operettas.  Be/nice  Claire, 
pictured  here   with   the  composer,   will   be  one  of 
the  lucky  ones. 


my  sons  is  the  author  of  a  jazz  operetta  which  is  soon 
to  be  produced  in  Berlin. 

Perhaps,  he,  too,  will  be  in  Hollywood  ere  long. 

Despite  my  very  limited  liking  for  jazz,  I  have  found 
myself  fully  able  to  understand  it  since  coming  to  America. 
Life  moves  at  a  fast  pace  here.  Now  and  then,  the  leisurely 
European  finds  it  somewhat  bewildering.  Out  of  this 
swiftness  of  movement,  this  intensity  and  eagerness,  has 
sprung  the  soul  of  jazz. 

But  can  even  the  American  people  maintain  this  rapid 
pace  permanently?  I  doubt  it;  and  I  think  I  can  already 
discern  signs  of  a  reaction.  Americans  more  and  more 
are  coming  to  realize  the  advantages  of  a  calmer  outlook. 
After  hustle  comes  fatigue;  after  jazz,  I  am  sure,  will  come 
a  return  to  melody,  to  pure  beauty,  to  the  genuine  art 
of  music. 

As  the  entire  world  becomes  educated  in  music,  the 
universal  taste  will  be,  I  think,  a  refined  and  delicate 
taste.  It  will  be — shall  we  say? — semi'dassical.  It  will 
favor  the  music  that  endures;  and  in  years  to  come,  I  have 
no  doubt  that  successful  Vitaphone  operettas  will  be  re- 
vived  again  and  again  just  as  operettas  of  the  stage  have 
been. 

In  my  own  work  here  in  Hollywood  at  the  Warner 
Studios,  I  am  proceeding  as  I  have  done  in  writing  all  my 
former  operettas.  That  is  to  say,  I  am  writing  for  the 
screen  exactly  as  I  have  written     (Continued  o~i  page  127) 


20 


SCREENLAND 


The  Hollywood 

Our  Incorrigibly  Witty  Author,  Mr.  Cruikshank, 
Lets  Himself  Go  and  Makes  Good  Reading.  But 
We're  Not  Sure  He  is  Right— Are  You? 


penie,  Blgarija,  Lietuva,  Eesti  or  Suomi.  But  once  he  hits 
Broadway  he's  a  New  Yorker.  Just  like  Alexander  Wool- 
cott,  of  Phalanx,  N.  J.;  Ring  Lardner,  of  Niles,  Mich.; 
Theodore  Dreiser,  of  Warsaw,  Ind.;  O.  O.  Mclntyre,  of 
Gallipolis,  O.;  Texas  Guinan,  of  Waco,  Tex.;  George  Jean 
Nathan,  of  Fort  Wayne,  Ind.;  Fannie  Hurst,  of  Washing- 
ton, D.  C;  Marilyn  Miller,  of  Findlay,  O.;  Peggy  Joyce, 
of  Alexandria,  Va.;  Thyra  Samter  Winslow,  of  Fort  Smith, 
Ark.;  Lila  Lee,  Union  Hill,  N.  J.;  J.  P.  McEvoy,  of  South 
Bend,  Ind.;  or  Sinclair  Lewis,  of  Sauk  Center,  Minn. 

Not  all  of  these  representative  New  Yorkers  are  Holly- 
wood Haters.  Indeed,  not  all  Hollywood  Haters  are  New 
Yorkers  either  by  birth  or  braggadocio.  The  sect  is  not 
limited  by  either  geography  or  geneology.  It  is  rather  a 
mental  condition.  An  evidence  of  the  trend  of  the  times. 
Times  in  which  it  is  the  vogue  to  be  against  things 


Lillian  Gish  makes  pictures  in  Hollywood,  true; 
but  she  also  loves  her  Manhattan  and  her  Europe. 


1IKE  all  Gaul,  Hollywood  is  divided  into  three  parts. 
First  of  these  is  the  Native  Sons.    Meaning  a  lot 
-   of  embattled  farmers  from  Iowa,  Missouri,  and 
Nebraska  who  have  spent  what  may  be  called 
their  lives  acquiring  a  small  financial  competence  and 
the  rheumati?.    They've  come  to  California  to  spend 
the  one  on  the  other. 

Secondly,  there  are  the  Tourists.  They  are  a  sort  of 
season.  One  speaks  of  the  rainy  season  and  the  tourist 
season.  The  rainy  season  is  preferable.  As  a  rule  they 
arrive  during  very  unusual  weather.  In  which  event 
they  return  East  to  Omaha  razzing  the  climate.  Other- 
wise they  may  buy  lots  and  ranches  and  groves  upon 
which  the  mortgages  are  foreclosed  shortly  thereafter. 
Next  to  mo'om  pitchers',  the  mortgage  industry  is  one 
of  the  Coast's  greatest  main-stays. 

But  oddest  of  all  sects  in  this  sect-sy  city,  is  the  Bite- 
The-Hand-That-Feeds-You  contingent.  These  are  known 
as  the  Hollywood  Haters.  Many  of  them  are  New 
Yorkers.  That  is,  in  the  same  sense  that  a  Cohen  is  a 
Kelly  after  the  Court  waves  its  wand  and  makes  a 
turkey  of  a  herring. 

Your  dyed-in-the-wool  New  Yorker  may  appear  in 
the  birth  records  of  the  vital  statistics  bureau  of  Shqi- 


A  sophisticate  of  the  screen,  Constance  Bennett, 
likes  to  visit  France  between  pictures;  but  she 
always  comes  back  to  Hollywood. 


for     May     19  30 


21 


Jf  A  T  E  R  S 

By  Herbert  Cruikshank 


rather  than  for  them.  Like 
the  Irish  used  to  be  'agin'  the 
governmint.'' 

If  one  raves  to  Lillian 
Gish  about  the  beauties  of 
California  in  general,  and 
Hollywood  in  particular,  she 
may  flutter  at  you  and  may 
be  run  out  to  pick  daisies. 
She  may  tell  you  that  Holly 
wood  is  merely  a  place  to  go 
for  motor  rides  and  hear 
talkies.  And  the  Duse's 
favorite  drama  critic,  George 
Jean  Nathan,  may  boop-oop- 
a'doop  about  schnitzels, 
sphygmomanometers  and 
Mencken. 

If  one  suggests  to  Lilyan 
Tashman  that  Hollywood  is 
a  pleasant  place  in  which  to. 
have  one's  being,  Lil'll 
gather  the  chinchilla  closer 
about  her  blonde  beauty,  ele- 
vating  the  chin  and  giving 
out  the  chill-a.  A  place  to. 
work,  Lilyan  will  tell  you. 
That's  what  Hollywood  is. 


The  cinema  city  is  'Home' 
to    Joan    Bennett,  (left); 
but  she  also  likes  her  New 
York  vacations. 


The  eloquent  and  dignified 
silence  of  Max  Reinkardt, 
the  great  German  producer, 
(right)  as  he  left  Holly- 
wood was  more  impressive 
than  a  theater-full  of  loud 
speakers. 


Fannie  Hurst  (below)  visited 
Hollywood  to  approve  the 
screening  of  her  book,  "Lum- 
mox." But  she  hasn't  been 
back  since,  has  she? 


For  ought  else — N'Yawk. 

Joan  and  Constance, 
daughters  of  Richard  Ben- 
nett, of  the  Shelbyville,  Ind., 
Bennetts,  will  mentally  class 
you  with  Harry  Richman  if 
you  evince  a  love  for  the 
brown  and  boney  (not 
bonny)  hills  of  old  Holly- 
wood. These  sophisticates 
may  describe  the  old  town 
that  started  the  world's  great- 
est industry  in  Jesse  Lasky's 
barn,  as  White  Plains  up- 
side down,  or  something  of 
the  sort. 

If  you  ask  Fannie  Hurst 
about  Hollywood,  and  she 
doesn't  walk  out  on  you, 
she'll  probably  just  lift  the 
eye-brows  and  tell  you  par- 
ables about  how  she  believed 
the  angels  to  be  clothed  in 
gold  and  found  them — to  put 
it  delicately  —  en  dishabille. 
It's  all  verra,  verra  dread' 
ful,  to  hear  Fannie  tell  it. 
(Continued  on  page  112) 


SCREENLAND 


Oh,  Oui?  Oui! 


//  we  can't  all  visit  the 
Rue  de  la  Paix  this  year, 
we'll  find  a  good  substi- 
tute on  the  screen.  For 
Fifi  Dorsay  brings  all 
the  chic,  the  perfume,  and 
the  joie  de  vivre  of  her 
native  France  to  our 
talking  films. 


Fifi  appeared  in  "They 
Had  to  See  Paris"  and 
"H ot  for  Paris."  The 
screen,  to  say  nothing 
of  the  audience,  has 
never  been  the  same. 
Somehow,  we  never 
before  realized  so 
clearly  that  we  of 
America  and  we  of 
France  are  just  broth- 
ers— and  sisters. 


Ul  VE 

Messieurs  et  Madames, 
Another  Invasion!  Holly- 
wood Opens  her  Arms 
to  These  Dear  French 

By 

Marie  House 


OOO  LA  LA,  mon  Dieu,  mon  cherie,  mon  chou,  chou, 
poof,   poof-poof,   and   a   liberal   sprinkling  of 
oui  oui's.  A  deadly  barrage  of  Gallic  expressions. 
Z-z-zees,   Z'Z-zisses  and  z-z-zos  bu2;2;  in  our 
ears.    A  hail  of  shrapnel  could  be  no  more  effective. 
Don't  shoot.    We  surrender. 
Vive  la  France!  • 

Screen  tests.  Voice  tests.  Close-ups.  Long  shots, 
Still  shots.  High  powered  premieres;  and  another  French' 
man  has  won  the  hand'painted  wagon  load  of  fan  mail. 

Cameras  to  the  right  of  them!  Microphones  to  the  left 
of  them!  Directors  at  the  heels  of  them!  Foreign  celebrities 
on  the  side  lines,  hoping  they  stutter!  Nothing  can  stop 
them,  these  doughty  French. 

To  the  fan  lines  comes  the  smell  of  powder  and  grease 
paint.  Through  the  trusty  binoculars  we  see  the  clash  of 
arms  (a-a-aah),  the  roll  of  eyes,  the  brilliant  flash  of 
those  Gallic  smiles.    Ooooooooooh  la  la! 

Scaling  the  heights  of  the  deadly  Mount  Microphone, 
that  has  sent  so  many  accents  floundering  backwards  into 
vaudeville,  these  clever  French,  with  telling  gestures  and 
plenty  of  'ca,'  have  carried  the  tricolor  to  the  peaks  of  the 
highest  Hollywood  strongholds  and  there  with  true  Gallic 
insouciance,  sit  practically  on  top  of  the  world. 

Others  may  hesitate  to  cross  the  Rubicon  where  voice 
and  action  meet.  But  not  the  French.  Mon  Dieu!  But 
most  certainly  not  the  French.  If  they  lack  for  a  word,  a 
shrug  will  do.  What  the  tongue  hesitates  on,  the  eyes 
express.  And  the  Parisian  flavor  of  the  songs  they  sing 
are  more  effective  than  they  would  be  in  untrimmed 
English.  Because  no  matter  what  they  are,  we  chortle 
blissfully  anyway  and  suspect  the  worst.  With  practically 
no  trouble  at  all,  even,  they  have  succeeded  in  feeding  us 
whole  spoonfuls  of  unadulturated  foreign  language  with 
scarcely  a  wry  face  among  us — scarcely. 

Vive  la  France! 

Maurice  Chevalier  began  it  last  summer,  probably  in 
just  a  little  "Innocents  of  Paris"  fun — but  it  proved  to  be 
the  shot  fired  that  was  next  heard  in  "The  Cock-Eyed 
World."  But  Will  Rogers  is  really  to  blame:  not  that  he 
started  it  exactly,  but  Will  is  always  starting  things  so 
blame  him  anyway.  Besides  after  "They  Had  To  See 
Paris,"  everyone  got  the  idea,  which  made  the  score  prac- 
tically unanimous  in  favor  of  the  French. 


for    May     19  30 

Lj>  a 


23 


FRANCE! 


And  now  that  the  Battle  of 
the  Microphone  is  going  so  well, 
let's  wipe  a  little  of  the  smoke 
out  of  our  eyes  and  see  who's 
where  and  why  not. 

Now  that  dashing  Jeanne 
D'Arc  hopping  over  yon  deadly 
parapet.  There's  a  neat  trick1 
for  you.  Boy,  our  biggest  tele- 
scope.   We'll  have  a  close-up. 

Ah,  ah!  Slappie  hannies! 
Boy,  return  that  telescope! 

Now  I  see.  Hmmmmmm! 
One  of  the  reasons  why  Will 
Rogers  had  to  see  Paris.  It's 
Mademoiselle  Fifi  Dorsay. 

Hoo,  hoo,  Fin!  Come  on 
over,  Fifi! 

Fifi  comes  over,  a  vivacious 
Fifi  with  mop  of  black  hair  and 
large  hazel  eyes.  A  Fifi  in  a 
unique  affair  of  tight-waisted 
black  coat  and  black  skirt  with 
large  white  dots.  No,  not  new 
styles,  silly.  Made  up  for  her 
part.  "Styles  of  1915,""  she 
laughingly  admits. 

How  is  the  battle  going  to- 
day, Fifi?    And  what  is  that 

interesting    looking    parapet    you've   just   been  scaling? 

"Oh,  I  am  so  fatigued.  These  movies!  Just  now  I  have 
lunch.  See,  it  is  2:30.  Terrible.  My  head  is  in  a  whirl. 
These  lines!  Over  and  over  and  over  again,  they  play  the 
scene  until  Mr.  Korda  says  it  is  right,  and  then  I  can 
only  see  the  lines  still  going  around  in  my  head."  (Well- 
known  and  effective 
Dorsay  gestures.) 

"But  now  I  do  a 
dramatique  part.  That 
is  what  I  have  always 
wanted  to  do.  More 
dramatique  part.  This 
time  I  am  a  song  and 
dance  girl  in  French 
Morocco.  I  am  a  bad 
girl  but  I  love  this 
soldier,  a  legionaire 
who  is  wanted  by  the 
law.  I  hide  him  in 
my  room  and  help 
him  escape.  It  is  very 
dramatique'  (more 
effective  gestures.) 

"Hell's  Bells- 
well,  that's  the  tenta- 
tive title  of  this  new 
picture  in  which  Har- 
old Murray  is  the 
lead  with  Fifi  co- 
starred.  But  wait  un- 
til you  hear  those  new 
songs  she  sings,  Good 


Two  of  Fiance's  most  precious  gifts  to  Holly- 
wood: Maurice  Chevalier  and  Claudette  Colbert 
This  is  a  scene  from  "The  Big  Pond." 


Lily  Damita  lead  the  French  invasion  of  Hollywood. 
She  was  made  to  feel  at  home  and  she  can  stay  just 
as  long  as  she  likes. 


Time  Fifi  and  Ce  C'est  Paris. 
Now,  be  quiet.  You'll  just  have 
to  wait. 

Fifi  speculatively  eyes  the 
most  glittering  domes  of  star- 
dom high  up  in  gilded  Holly- 
wood.   And  why  not? 

"Ever  since  I  came  to  Amer-' 
ica  I  have  wanted  to  go  on  the 
stage.  When  I  was  a  stenog- 
rapher in  New  York  I  was  not 
satisfied.  Then  I  got  a  small 
part  in  the  'Greenwich  Village 
Follies.'  Will  Rogers  was  there' 
then.  I  liked  working  with  Mr. 
Rogers  in  'They  Had  To  See 
Paris.'  He  is  so  bashful.  It  is 
nice  to  play  a  vamp  part  with 
Mr.  Rogers."  (Trills  of  fa- 
mous Dorsay  laughter.) 

"You  know,"  surprise  strug- 
gling with  pride  in  her  voice, 
"I  went  to  work  very  quickly 
after  my  test  in  New  York. 
Very  few  get  to  work  quickly 
after  their  screen  test.  Just 
three  weeks  after  my  test,  I 
was  working  here  on  the  Fox 
lot." 

You  see.  That's  the  way  the  French  work. 
"Look!  I  do  not  say  V  when  I  talk.  Only  in  pictures 
when  I  must  be  a  French  girl.  I  must  say  'sis'  and  'zos" 
and  everyt'ing.  See,  I  can  say  'thing.'  Soon  with  a 
little,  what  do  you  say,  a  little  concentration,  I  will  play 
straight  American  parts.    Then  you  will  see.    I  can  talk 

American.  I  will  not 
have  an  accent." 

What,  no  'z,'  Fifi? 
No  accent?  Oh, 
please! 

"It  is  difficult  to 
speak  English  with  a' 
French  accent  when 
it  does  not  come  nat- 
urally. So  many  girls 
tried  out  for  these 
parts,  but  either  they 
did  not  speak  enough 
English  or  they  were 
Americans  who  spoke 
fluent  French,  but 
their  accent  was  not 
right.  Marion  Davies 
was  one  who  did  this 
well  in  'Marianne.' 
She  was  splendid.  If 
my  English  is  as  good 
as  her  French.  I  will 
be  glad." 

There's   a  beau 
geste  for  you. 
(Cent,  on  page  119) 


24 


SCREENLAND 


Nathalie  Bucknall,  director  of  research  department, 
at  her  desk  in  her  studio  workshop.    Mrs.  Bucknall 
supervises  the  correctness  of  the  many  details  that 
go  into  the  making  of  pictures. 


G 


O  West,  young  woman,  go  West!" 

If  Horace  Greeley  could  have  known  the 
West  of  today,  he  might  have  added  this  after- 
thought to  his  well-known  and  much-quoted 
words  to  young  men. 

Of  course,  to  modern  youth,  West  means  Hollywood. 
But  Horace  Greeley  would  not  have  been  advising  youth- 
ful and  feminine  America  to  go  West  to  become  movie 
stars.  He  would  have  realized  that  such  advice  was  un- 
necessary. Every  train  which  rolls  into  Los  Angeles  is 
loaded  with  its  quota  of  such  fame  and  fortune  seekers. 

He  would  have  been  talking  to  the  energetic,  intelligent 
young  women  who  do  not  crave  the  thrill  and  glitter  of 
screen  glories,  who  are  looking  for  other  avenues  to  success. 
The  young  women  of  the  country  don't  need  the  advice 


Above:    Henrietta  Frazer, 
designer,   assistant  manager 
of  the  studio  wardrobe. 


Upper  right:  Edith  Farrell, 
competent    manager    of  the 
script  department. 


Right:     Josephine  Chippo, 
script    clerk,  accompanies 
Director    Van  Dyke's  com- 
pany  on   location  trips. 


The 
Q  I  R  L  S 

Behind  the 

STARS 


of  any  man  to  show  them  the  possibilities  of  the  motion 
picture  field.  They  discovered  these  possibilities  all  by 
themselves.  Every  morning  hundreds  of  clever  girls  throng 
through  the  studio  gates  to  hang  their  smart  straw  or  felt 
hats,  as  the  season  may  be,  in  hundreds  of  offices. 

Every  time  Greta  Garbo,  Norma  Shearer,  Gloria  Swan- 
son  or  any  other  glittering  lady  of  the  silver  screen  moves 
through  eight  reels  of  film  adventure,  a  half  hundred  un- 
seen and  unknown  young  women  have  helped  in  the 
motion. 

A  wonderful  thing  about  the  behind-the-cameras  activity 
of  this  movie  game  is  that  age,  sex  and  looks  don't  matter. 
Only  intelligence  counts.  The  one  great  cry  of  the  busi- 
ness is,  "It  can  be  done!"  Nothing  is  impossible.  Miracles 
are  performed.  It  makes  no  difference  who  performs  them, 
man  or  woman,  oldster  or  youngster,  so  long  as  they  are 
performed. 

Each  year  finds  more  clever  girls  added  to  studio  pay- 
rolls. They  come  from  all  parts  of  the  world  to  try  their 
luck  in  the  West  of  motion  pictures.  They  do  all  sorts 
of  things.  They  are  ready  to  give  every  ounce  of  their 
intelligence  and  energy  to  this  fascinating  business.  They 
love  the  thrill  of  being  a  factor,  large  or  small,  in  the 
making  of  pictures  which  travel  into  every  nook  and  cor- 
ner of  the  globe.  They  wouldn't  trade  places  with  any 
Garbo  or  Shearer  or  Swanson. 


Below:     Peggy  Coleman, 
with  a  record  for  war  ser- 
vice,   capably    directs  the 
studio  hospital. 


Above:  Nathalie  Bucknall 
has  earned  a  special  niche 
for  herself  in  research  work. 


for     May     19  30 


25 


These  Girls  Who  Have 
Carved  Their  Own  Ca- 
reers in  the  World  behind 
the  Cameras  Wouldn't 
Trade  Jobs  with  the  Stars 

By 

Ralph  Wheeler 


The   research    department    of    the    M  etro-G  oldwyn- 
Mayer  studios.    In   this   pleasant,   book-filled  room 
Mrs.  Bucknall  and  her  assistants  determine  the  suave 
niceties  of  plumes,  curtsies  and  costumes. 


The  public  reads  much  about  the  actresses.  It  knows 
what  they  do,  what  they  wear,  where  they  go  and  whom 
they  love.  It  reads,  too,  about  the  women  who  write  the 
stories  for  the  actresses.  But  the  hordes  of  other  girls,  who 
play  so  important  a  part  in  the  furnishing  of  amusement 
for  the  millions,  go  unpraised  and  unsung,  except  in  their 
own  circles. 

Did  you  ever  wonder,'  while  you  were  watching  the 
intricacies  of  some  elaborate  costume  picture,  the  suave 
niceties  of  some  story  of  foreign  drawing  rooms  or  the 
military  paraphernalia  of  some  war  epic,  who  supervised 
the  correctness  of  the  million  and  one  details?  An  amazing 
amount  of  research  and  study  lies  behind  each  plume, 
each  curtsy,  each  uniform. 

At  the  Metro-Goldwyn-Mayer  studio,  a  young  woman  is 
responsible  for  this  very  necessary  phase  of  the  making  of 
the  pictures.  Her  name  is  Nathalie  Bucknall  and  her 
own  history  is  as  colorful  as  any  story  for  whose  details 
she  delves  into  her  research  library.  In  a  big,  book-filled 
room,  Mrs.  Bucknall,  with  the  aid  of  two  young  women 
assistants,  determines  what  sort  of  boots  were  worn  by 
seventeenth  century  soldiers  and  what  kind  of  silver  was 
used  on  Victorian  dinner  tables. 

The  brown-haired,  brown-eyed  young  woman  was  born 
in  Petrograd,  then  St.  Petersburg,  the  daughter  of  a  Rus- 
sian father  and  an  English  mother.    She  served  in  Russia's 


Below:  Vivian  Newcom, 
who  is  secretary  to  Irving 
Thalberg,  the  boy  execu- 
tive, 'Mr.  Norma  Shearer.' 


Battalion  of  Death  during  the  World  War  and  was  dec- 
orated three  times  by  both  the  Russian  and  British  govern- 
ments. After  the  armistice  she  directed  a  hospital  in  Rus- 
sia and  later  was  affiliated  with  the  English  war  depart- 
ment. 

Three  years  ago  she  came  to  America  to  travel  and 
to  study.  The  movies  fascinated  her.  She  found  a  studio 
foothold  as  a  reader.  Then  her  knowledge  of  foreign 
modes  and  manners,  of  languages  and  history  opened  a 
place  for  her  in  the  research  department.  As  the  director 
of  technical  research,  she  has  carved  her  own  little  niche 
in  the  world  behind  the  cameras. 

After  the  technical  details  of  the  picture  are  arranged, 
after  the  sets  are  built  on  the  stages,  the  picture  rooms 
must  be  furnished,  draped  .and      (Continued  on  page  120) 


Above:  Margaret  Booth, 
film  cutter,  puts  together 
some  of  the  biggest  films. 


Above:  Blanche  Sewell,  an- 
other cutter,  to   whom  be- 
longs a  share  of  credit. 


Upper  left:   Lillian  Rosini, 
make-up  artist,  authority  on 
photographic  values. 


Left:  Margery  Prevost,  sis- 
ter   of    Marie — and  studio 
specialist    in    interior  deco- 
ration. Clever! 


25 


SCREENLAND 


A  story  conference  in 
a  film  studio.  First 
National  producing  ex- 
ecutives decide  the 
form  "Mile.  Modiste" 
shall  take  in  its  screen 
version.  Reading  up 
the  table:  Paul  Perez 
and  Julian  Josephson, 
scenarists;  Robert 
Crawford,  executive  in 
charge  of  music;  Rob- 
ert North,  producer; 
William  A.  Seiter,  di- 
rector; C.  Graham 
Baker,  chairman  of  the 
conference. 


YES,  it's  a  conference!  Not  a  gathering  of  high- 
powered  diplomats  to  decide  on  the  peace  of 
nations,  nor  the  sise  of  battleships,  but  a  modern 
movie  conference  wherein  is  decided  what  you  and 
I  will  see  upon  the  screen  when  the  motion  picture  in 
question  is  completed. 

Movie  conferences  have  been  the  butt  of  almost  as  many 
jokes  as  prohibition,  but,  in  spite  of  the  merry  jokesmiths, 
these  conferences  have  increased  both  in  number  and  im- 
portance with  the  advent  of  the  talking  picture,  of  Tech- 
nicolor, and  the  production  in  which  singing  and  dancing 
and  a  horde  of  glorified  merry  villagers  and  celluloid 
gendarmerie  abound. 

Now,  there  are  conferences  and  conferences,  including 
the  kind  that  an  elusive  official  seems  to  be  constantly  tied 
up  in  when  you  want  to  see  him  on  a  question  of- — let 
u&  say,  a  rise  of  salary0  But  a  general  production  con- 
ference prior  to  the  filming  of  a  pretentious  musical  pro- 
duction, such  as  Victor  Herbert's  operetta,  "Mile.  Modiste,1' 
now  facing  the  cameras  and  microphones  at  the  First 
National  Studio,  offers  what  is  perhapj  the  best  example 


YES,  IT'S  A 

They  Really  Do  Have 
Business.   Here  You  Are 
Learn  What 

By  Brian 

of  a  modern  movie  conference.  And,  incidentally,  it  is 
probably  the  first  at  which  a  reporter  or  interviewer  was 
ever  admitted  or  permitted  to  sit  on  the  side-lines  and  take 
notes. 

This  gathering  in  the  lion's  den  occurred  in  a  luxurious 
office  used  expressly  as  a  conference  room.  In  fact,  it 
was  even  labeled  Conference  Room  on  the  door,  and  should 


for     May  1930 


27 


Reading  right  along, 
from  the  head  of  the 
table:  Hal  B.  Wallis, 
co-executive  in  charge 
of  production  at  the 
studio,  and  the  hus- 
band of  Louise  Fa- 
zenda;  Larry  Ceballos, 
the  dance  director  and 
his  assistant,  Carl 
McBride;  Leo  Forb- 
stein,  musical  director, 
and  his  assistant, 
Leonid  Leonardi.  A 
conference  to  which 
Screenland  was  ad- 
mitted by  special  per- 
mission. 


(Conference 

Conferences  in  the  Picture 
Invited  to  Attend  One  and 
It's  All  About 

Herbert 

you  want  to  call  one  of  the  inhabitants,  you  would  ask 
the  studio  telephone  operator  for  the  Conference  Room. 
Whether  any  one  answered  the  telephone  when  you  called 
is  a  question  which  I  will  not  go  into.  This  laboratory 
of  disputes  adjoins  the  suite  occupied  by  C.  Graham  Baker, 
scenarist  and  producer,  who  with  Hal  B.  Wallis  is  co- 
executive  head  of  production  at  the  First  National  pro- 


duction plant. 

Mr.  Baker,  you  will  see,  is  chairman  of  the  conference, 
at  which  Mr.  Wallis  presides  as  official  arbiter  of  disputes. 
Their  places  are  at  the  head  of  a  long  table,  and  William 
A.  Seiter,  who  is  to  direct  "Mile.  Modiste,'"  is  beside  them. 
On  the  left  side  of  the  table  is  Robert  North,  the  pro- 
ducer, then  Robert  Crawford,  executive  in  charge  of  musi- 
cal activities.  Julian  Josephson  and  Paul  Perez,  scenarists, 
come  next  in  order.  On  the  opposite  side  of  the  table 
are  Larry  Ceballos,  dance  director,  Carl  McBride,his  assist- 
ant, Leo  Forbstein,  musical  director,  and  Anton  Grot, 
art  director  and  set  designer.  At  the  end  of  the  room 
stands  a  grand  piano  where  Leonid  Leonardi,  assistant 
to  Forbstein,  is  prepared  to  sing  or  play  any  parts  of  the 
score  of  Victor  Herbert's  original  music,  or  new  music 
written  for  the  production. 

There  is  no  formal  opening  of  the  proceedings.  The 
atmosphere  is  exceedingly  cheerful  as  William  A.  Seiter 
completes  a  recital  of  the  latest  funny  story  which  is 
going  the  rounds  of  the  studio.  Then  Mr.  Baker  checks 
up  on  the  personnel  present  and   (Continued  on  page  122) 


Alexander  Phillips 

GLORIA  SWANSON 

Psycho-Analyzed 

\ 


for     May     19  30 


29 


A  Penetrating  Portrait  of  the  Little 
Chicago  Girl  who  Became  a  Marquise 
in  Real  Life  and  a  Czarina  of  the  Screen 

By  James  Oppenheim 


IT  is  a  curious  fact  that  the  two  outstanding  women 
of  the  American  screen  have  Swedish  blood  in  them. 
Greta  Garbo  and  Gloria  Swanson.  Of  course,  the 
Garbo  was  a  recent  importation  whereas  Gloria  was 
American-born,  and  anyone  who  has  seen  the  latter  in 
"The  Trespasser"  knows  that  she  can  be  American  to  her 
finger-tips,  whether  as  private  secretary,  telephone  girl, 
apartment-house  mother,  or  millionaire's  wife.  But  then, 
Gloria  could  be  a  veritable  Queen  or  run  a  Paris  salon. 
She  could,  likewise,  be  a  'moll'  in  the  underworld.  But, 
whatever  she  is,  she  is  superb  and  aristocratic,  which  latter 
means  that  she  goes  her  own  way,  whether  against  a  bar- 
rage of  criticism  or  lack  of  funds;  and  that  she  can  be  a 
stately  hostess  or  fling  herself  down  on  a  bed  and  play 
'kids'  with  a  child. 

These  Scandinavian  women!  Why  do  they  fascinate 
hard-hitting,  go-getting,  down-to-earth  Americans?  Per- 
haps it  is  that  no  matter  how  hard-hitting  and  go-getting 
they  may  be  themselves,  they  are  also  up  in  the  clouds: 
Valkyries  astride  horses  bearing  dead  warriors  through  the 
skies  to  Valhalla.  There  is  poetry  in  them,  and  so  a  prose- 
nation  is  allured  and  fascinated.  They  give  us  dreams  to 
dream  and  wonders  to  wonder  at. 

And  yet,  Garbo  and  Swanson  are  utterly  unlike.  Garbo 
seems  like  a  captive  princess  in  a  tower,  with  the  sea 
dashing  below  in  moonlight,  caring  for  nothing  but  some- 
thing long-lost;  whereas  Swanson  belongs  to  the  great 
modern  city:  skyscrapers  and  windy  sunny  days,  radio, 
motor  cars,  jewels,  gowns  and  splendor — a  woman  of  the 
world. 

We  begin  to  understand  the  difference  (as  well  as  the 
likeness)  when  we  examine  the  questionnaire  which  Miss 
Swanson,  with  the  help  of  an  interlocutor,  has  answered 
for  Screen  land.  We  know  that  Greta  Garbo  is  a  deep 
introvert,  that  she  prefers  the  dream-world  to  the  real 
world,  that  she  is  lonely,  moody,  aloof,  and  often  sorrow- 
ful; that  it  is  mainly  in  her  art  that  she  extraverts,  that 
is,  has  a  warm  living  contact  with  a  world  of  people. 

Miss  Swanson  sets  herself  down  as  extraverted,  55,  as 
against  introverted,  23.  Turning  the  figures  around  we 
would  probably  get  a  picture  of  Greta  Garbo.  In  fact, 
we  might  say  that  Garbo  is  more  the  artist,  Swanson  more 
the  woman;  Garbo  is  more  a  dream-figure,  a  night-star; 
Swanson  flesh-and-blood,  a  powerful  electric  light. 

Yet  note  the  likenesses,  Scandinavian,  I  take  it.  Miss 
Swanson  says  of  herself : 

I  am  a  little  self-conscious. 

I  feel  very  much  misunderstood  by  most  people. 
I  hate  to  be  conspicuous,  even  in  my  own  home. 
I  am  self -centered,  introspective:  keep  looking  into  my 
self. 

I  have  deep  moods  that  sometimes  last  for  days. 

I  am  very  easily  in  a  tense  condition. 

I  am  very  often  'up  in  the  clouds.' 

One  would  imagine  from  this  that  she  would  have  a 
hard  time  meeting  the  world,  mixing  in,  getting  things 
done,  being  practical;  that  like  Greta  Garbo,  she  would 


Ernest  A.  Bachrach 


Gloria  Swanson  is  a  self-made  woman.    She  is 
one  of  America's  assets,  for  her  art  is  superb  and 
her  life  is  a  challenge  to  the  rest  of  us. 


be  tyrannized  over  by  changing  moods  (introverted  feel- 
ing) ;  moods  that  she  was  acting  in  a  screen-play  or  those 
inexplicable  moods  which,  like  fog,  cut  us  off  from  the 
world  and  make  us  hide  in  a  dingy  corner  of  misery. 

But  this  introverted  side  is  Swanson's  shadow,  whereas 
it  is  Garbo's  self.    For  listen  to  these  further  answers : 

I  am  a  real  go-getter,  by  nature. 

It  is  very  easy  for  me  to  order  others  around.  (Imagine 
Garbo  good  at 'that!) 

Life  is  a  game  to  me,  to  be  played  through  like  a  sport. 
I'm  a  good  actor  in  public,  and  a  good  mixer. 
I  am  naturally  very  active  and  delight  in  doing  things. 
I  like  very  many  people. 

I  like  always  to  be  with  them  and  on  the  go. 
I  am  loving  and  affectionate. 

I  am  a  faddist,  and  take  up  with  all  the  fads  that  come 
along.   (Honest,  that!) 

I  would  be  absolutely  indifferent  if  the  man  I  loved 
should  flirt  with  other  women. 

I  am  very  realistic  and  have  much  common  sense. 

I  am  easy-going  as  a  rule. 

In  short,  she  is  many  sided,  and  the  extraverted  side  is 
strong  enough  to.  win  victory        (Continued  on  page  112) 


30 


SCREENLAND 


cjTARS  who  never  saw 

These  Self -Made  Celebrities  Need  No  Plots  or  Props. 
They  are  Box-Office  Attractions  without  Benefit  of 
Bunk.  This  Story  Tells  You  How  the  Great  World 
Figures  are  Coaxed  to  Face  the  News  Cameras 


Do  you  realize  that  all  moving  picture  stars  do 
not  live  in  Hollywood? 
Did  you  ever  stop  to  consider  that  there  is 
one  young  man  in  America  and  another  young 
man  in  England  who  separately  can  attract  as  many  people 
into  a  moving  picture  theater  as  the  combined  charms  of 
Ronald  Colman,  George  Bancroft  and  Maurice  Chevalier? 

Would  you  ever  think  that  a  certain  mature  woman 
living  in  what  we  would  call  an  outlandish  country,  shut 
off  by  mountains  and  hemmed  in  by  boundless  plains, 
actually  has  as  much  sex  appeal  in  the  eyes  of  the  box- 
office  world  as  Joan  Crawford,  Ann  Harding,  Clara  Bow, 
and  that  mean  mama,  Evelyn  Brent,  all  rolled  into  one? 
You  don't  believe  it? 
Well,  it's  a  fact.    And  I  can  prove  it. 
One  of  the  real  romances  of  the  present  day  is  that 
we  can  step  into  almost  any  moving  picture  theater  and 
rub  elbows  with  the  greatest  men  and  women  that  exist 


The  most  famous,  rick,  and  successful  screen  star  of  them  all — John  D 
Rockefeller,  who  posed  for  the  news  cameras  on  his  ninetieth  birthday 


in  current  history.    At  last  there  is  real  democracy! 

Without  any  effort  whatsoever,  we  can  watch  the  rich- 
est man  in  existence — a  man  who  has*  given  more  than 
seven  hundred  and  fifty  million  dollars  to  charity  and 
science  alone — cut  his  birthday  cake. 

By  extracting  a  small  coin  from  our  pocketbook  and 
placing  it  on  the  sill  of  the  box-office  window,  we  can  see 
the  mystery  Queen,  the  greatest  woman  diplomat  on  earth 
today,  in  the  privacy  of  her  home. 

Kings  invite  us  to  their  countries.  Internationally  cele- 
brated writers  tell  us  jokes.  We  glimpse  the  love  making 
and  wedding  of  one  Prince  of  a  noble  house.  And  we 
sense  the  tragedy  of  another,  who  gave  up  his  throne 
for  love. 

All  this  through  the  medium  of  that  most  important 
of  present  day  inventions — the  talking  news  reel  picture 
camera. 

Nearly  every  celebrated  figure  in  America  and  Europe 
has  talked  for  the  Fox  Movietone 
news:  Lindbergh,  the  Prince  of  Wales, 
Shaw,  and  Queen  Marie  of  Roumania 
— the  four  greatest  drawing  cards  of 
all.  Then  we  have  John  D.  Rocke- 
feller, the  King  of  Spain,  Mussolini, 
King  George  of  England,  Conan  Doyle, 
Prince  Humbert  of  Italy,  Prince  George 
of  England,  the  Emperor  of  Japan, 
the  Pope  in  his  Vatican  seclusion, 
Hindenburg,  Clemenceau,  Tardieu, 
Poincare,  the  King  of  Italy,  the  King 
of  Sweden,  Prince  Carol  of  Roumania, 
Edison,  Booth  Tarkington,  President 
Hoover,  ex-President  Coolidge,  Persh- 
ing, Taft,  Al  Smith,  Governor  Roose- 
velt, Mayor  Walker,  Andrew  Mellon, 
Speaker  Longworth,  Jack  Dempsey, 
Gene  Tunney,  and  many  others. 

But  what  money,  influence,  diplo- 
matic pressure,  cajolery,  patience,  and 
persuasion  has  been  exerted! 

However,  no  person  in  the  United 


of  Roumania.  that's  all. 


for     May     19  30 


31 


j^OLLYWOOD 


By  Rosa  Re  illy 


States  was  ever  paid  any  sum  of  money  for  permitting 
a  talking  news  reel  picture  of  himself  to  be  made.  In 
Europe,  many  were  compensated.  But  not  all.  In  fact, 
Bernard  Shaw  was  not  given  a  penny.  And  yet  more 
money  was  realized  on  his  news  reel  than  on  any  short 
picture  which  Fox  has  ever  produced. 

While  I  am  not  free  to  tell  you  the  stated  sums  paid 
stated  continental  personalities,  I  can  tell  you  quite  a  few 
received  amounts  tidy  enough  to  keep  the  wolf  from  the 
door  for  many  moons. 

But  if  money  was  not  paid  to  some,  what  months  of 
strategy  were  necessary  before  the  boys  would  step  up 
and  doff  their  hats  and  ear  muffs  before  the  microphone. 
And  you  can  well  understand  it. 

In  ordinary  life,  you  and  I  love  to  see  our  name  in 
print  and  our  photographs  in  the  news  reels.  It  is  a 
normal  ambition  cherished  by  nearly  every  normal  indi- 
dividual,  if  they  will  admit  it. 

But  for  a  celebrity,  placed  high  in  the  world,  publicity 
is  exceedingly  dangerous.    Ridicule  and  unfavorable  gos- 
sip  have  ruined  more  careers  than  poison.  Therefore, 
the  average  highly  placed  personality 
is  extremely  wary  before  he  allows 
self  to  be  persuaded. 
Take  the  case  of  Mussolini,  who 
the  first  big  fish  to  be  hooked.  He 
ne  of  the  most  unapproachable  of 
l  from  the  viewpoint  of  the  press. 
The  Fox  news  would  never  have  been 
to  procure  him  except  through 
kindly  intervention  of  Ambassador 
Fletcher,  at  that  time  our  representa' 
in  Rome. 

]  /lussolini  took  the  whole  thing  very, 
/    seriously.      First    he    gave  his 
;ch  in  Italian.    And  then  in  Eng- 
Very  meticulous  English  which 
he    had    unquestionably  memorized 
phonetically.    When  the  finished  rec- 
ord was  given  out,  his  voice  had  a 
most  un-English  twang. 

And  this  un-English  twang  leads 
to  another  and  very  funny  story.  The 

Mussolini  film  was  shown  to  Bernard  G**ial  Lloyd  G 

appear  in  news 


Shaw,  that  august  Irishman  who  recently  turned  out  the 
far-from-light  "The  Intelligent  Woman's  Guide  to 
Socialism. " 

When  Shaw  saw  and  heard  Mussolini's  film,  he  said: 
"That  is  terrible.  Mussolini  is  not  making  the  most  of  his 
personality.    IT1  show  him  how  it  should  be  done." 

With  that,  he  turned  around  and  put  on  one  of  the 
wittiest  and  most  entertaining  short  features  which  has 
ever  been  made.   And  it  did  not  cost  William  Fox  a  nickel. 

With  the  exception  of  Shaw,  of  all  the  European  celeb- 
rities, Lloyd  George  and  Hindenburg  were  the  only  ones 
who  did  not  cause  the  Fox  Company  many  moments  of 
anxiety  and  months  of  waiting.    And  at  what  expense! 

Talking  news  reel  crews  are  maintained  in  strategic 
points  throughout  Europe  and  Asia,  just  on  the  chance 
of  something  happening.  And  when  a  flood  occurs  or  a 
King  dies,  the  nearest  unit  is  rushed  to  the  scene.  There 
are  four  of  these  camera  crews  in  England,  one  in  Spain, 
one  in  Morocco,  one  in  Palestine,  three  in  Rome,  one  in 
Czecho- Slovakia,  and  three  in  Paris.  When  you  realize 
that  the  average  salary  of  each  of    (Continued  on  page  114) 


eorge  is  one  of  the  most  popular  of  the  world  figures  who 
pictures.  Here  he  is  posing  for  Fox  in  his  English  garden. 


II  Duce-  Conan  Doyle.  Mr.  Tarkington  Well,  well, 

Benito  Mussolini.  Mr.  H.  G.  Wells! 


SCREENLAND 


Chaney,  'Man  of  a  Thousand  Faces/  will  Now 
be  Known  as  The  Man  of  a  Thousand  Voices.' 
He  has  fallen  for  the  Talkers  at  Last! 


for     May     19  30 


33 


fHANEY 

Comes  Back 


i 


won  t 
which 


The  Great  Character  Actor 
Breaks  His  Long  Silence 


want  to  play  roles  in 
which  I  can  use  several 
voices  in  the  same  pic- 
ture, so  that  people 
be  able  to  really  say 
my  own  natural  voice 
is,  just  as  I  have  always  used 
make-up,  so  that  they  don't 
quite  know  what  my  real  face 
is  like!'''' 

That's  Lon  Chaney's  idea 
of  keeping  up  the  singular 
mystery  that  surrounds  him, 
now  that  he's  going  to  talk 
for  the  screen.  And  inciden- 
tally, in  doing  it,  he's  going  to 
dig  up  all  the  tricks  from  his 
old  bag,  when  he  played  char- 
acters on  the  stage  before  he 
went  into  pictures.  For,  long 
before  he  was  a  'man  of  a 
thousand  faces,'  he  was  really 
a  man  of  a  thousand  voices,  a 
utility  character  player  ready 
to  jump  in  and  play  anything 
from  a  college  boy  to  a 
Methusaleh;  from  a  Dutch 
comedian  to  an  English  chap- 
pie. 

When  audiences  hear  him 
use  as  many  as  five  voices  in 
a  picture,  they'll  wonder,  per- 
haps; but  after  all,  when  one 

considers  his  training,  there's  not  so  much  to  wonder  at. 
In  small  traveling  companies,  an  actor  used  to  be  ready  to 
play  anything,  sometimes  three  or  four  parts  in  the  same 
play.  The  old  time  stock  actor  learned  make-up  and  dialect 
to  hold  his  job;  he  had  to  be  ready  with  his  tricks  at  a 
moment's  notice. 

And  that's  the  secret  of  why  the  man  of  a  thousand 
faces  will  have  no  difficulty  in  becoming  the  man  of  a 
thousand  voices,  too. 

This  matter  of  using  his  natural  voice  was  one  of  the 
things  that  kept  Chaney  holding  out  against  the  talkies 
for  so  long. 

"When  you  hear  a  person  talk,"  says  Chaney,  "you 
begin  to  know  him  better.  And  my  whole  career  has 
been  devoted,  in  my  case,  to  keeping  people  from  knowing 


By 

Bradford  Nelson 


to 


me.  It  has  taken  years 
build  up  a  sort  of  mystery 
that  is  my  stock  in  trade.  And 
I  wouldn't  sacrifice  it  by  talk- 
ing. 

"But  the  public,  on  the 
other  hand,  demands  that  we 
screen  players  talk,  and  so 
talk  we  must.  And  I  don't 
want  to  talk  and  spoil  any 
illusion.  So,  when  I  talked 
over  the  new  contract  with 
Mr.  Thalberg,  among  other 
things  I  mentioned  that  dif- 
ficulty. 

"Thalberg  saw  the  answer 
quickly.  'You've  done  all  kinds 
of  dialect  and  character  stuff 
on  the  stage,'  he  suggested. 
'Just  use  a  couple  of  voices 
and  let  'em  guess.' 
"And    so    that  v 


as  the 

answer." 

Chaney's  many  voices  are 
the  product  of  long  years  of 
toil.  He  began  practicing 
them  when,  as  a  prop  boy  in 
a  theater  at  Colorado  Springs, 
he  used  to  watch  the  great 
stars  of  the  day  such  as  Mans- 
field, Mantell,  and  others, 
make  up  and  assume  their  dif- 
ferent roles.  He  used  to 
the  Terrible"  one  night  and 
noting  how  subtle  changes  in 
voice,  carriage,  and  make-up  changed  the  very  soul,  seem- 
ingly, of  the  man. 

"Those  old  actors,"  says  Chaney,  "never  showed  the 
audience  themselves,  but  literally  donned  the  personality 
of  the  character  they  were  playing.  From  the  first,  when 
I  started  to  act,  I  resolved  to  be  as  like  them  as  I  could. 
Instead  of  being  a  type,  and  playing  nothing  but  myself. 
I  always  wanted  to  try  and  play  someone  else,  submerging 
my  own  personality. 

"On  the  stage  I  had  plenty  of  chances.  One  of  the 
first  shows  I  was  in,  I  had  to  play  an  old  hick  sheriff, 
come  in  on  the  second  act  as  the  town  drunk,  and  in  the 
third  act  play  a  Dutchman,  (Continued  on  page  116) 


Lon  Chaney  held  out  against  the  talkers  be- 
cause he  didn't  want  to  destroy  the  mystery 
surrounding  his  characters.   But  he  has  finally 
solved  the  problem. 


watch  Mansfield  in  "Ivan 
"Beau  Brummell"  the  next, 


34 


SCREENLAND 


fantastic  Hollywood 


Cecil  Beaton's 

Impressions 
of  Screen  City 

As  Told  To  Rosa  Reilly 


The  young  English  artist  went  to  Hol- 
lywood to  illustrate  Anita  Loos'  new 
book  about  the  movies  and  remained  to 
make  remarkable  portraits  of  screen 
stars,  a  series  of  which  comprise  the  de 
luxe  rotogravure  section  beginning  on 
the  opposite  page.  You  will  wish  to 
save  and  frame  these  Beaton  pictures 


H 


'OLLYWOOD  is  the  most  incredibly  fantastic  city 
in  the  world,"  said  Cecil  Beaton,  famous  young 
English   illustrator,   artist   and  photographer, 
who  has  just  returned  from  his  pulchritude 
pilgrimage  to  the  screen  city. 

"Hollywood,"  he  continued,  "is  a  triumph  of  bad  taste. 
And  I  never  knew  bad  taste  could  be  such  fun! 

"I  went  to  Hollywood,1''  Mr.  Beaton  went  on,  "primar- 
ily  with  a  view  to  doing  drawings  and  caricatures  to 
illustrate  Anita  Loos'  new  book  on  this  film  town.  But 
I  also  went  to  crash  down  the  barriers  of  my  illusions. 

"On  the  screen  in  London,  Paris,  and  New  York  I  have 
watched  my  favorite  cinema  stars  and  even  in  this  day 
of  realism  to  me  they  pos- 
sessed great  romance  and 
glamour.  I  knew  if  I  went 
to  Hollywood  and  saw  these 
stars  in  person  that  the 
romance  and  glamour  would 
fade  away.  And  it  was  a 
terrific  extravagance  for  me 
to  go  there  for  I  have  always 
held  the  theory  that  stage 
and  screen  personalities 
should  never  be  seen  by  the 
public  out  of  character.  They 
should  never  mix  with  the 
world.  They  should  live  a 
life  apart  so  that  the  millions 
of  theater  and  cinema-goers 
might  retain  their  illusions. 

"But  paradoxically  enough, 
even  though  I  realised  the 
stars  would  lose  their  glam- 
our for  me  if  I  went  to 
Hollywood  and  saw  them  in 
person,  and  although  I  knew 
it  was  a  mistake  to  go — I  did 
go.  And  it  was  glorious  fun 
smashing  the  last  barrier! 

"Hollywood  is  the  most 
artificial  place  in  the  world. 
And  because  it  is,  I  love  it. 
I  love  the  paradox  that  is 
Hollywood — the  mixing  of 
naturalness  and  artificiality. 
I  hate  the  painted  doll  type 
of  girl  who  looks  like  she 
wears  a  mask.  But  I  adore 
a  flesh  and  blood  human 
woman  who  puts  that  sort 
of  doll  coating  on  herself.  It 
is  a  delightful  pretense.  It 


to 

may 


cover 
be, 


Meet  Cecil  Beaton.    Only  twenty  jour  years  old, 
yet  already  his  work  has  attracted  world  attention. 
He  contributes  his  clever  articles,  drawings,  and 
portrait  studies  to  Vogue  and  Vanity  Fair. 


amuses  me  to  see  her  trying  to  clothe  her  face; 
her  naivete  or  her  hard-boiledness,  as  the  case 
with  this  painted  doll  pretense. 

"As  a  child  and  a  growing  boy  I  was  brought  up  in 
a  very  social  atmosphere.  None  of  my  people  were  stage 
people.  And  it  was  like  flying  to  have  suggested  that  I 
be  allowed  to  go  behind  the  stage.  I  was  taken  to  the 
minimum  amount  of  pantomimes  but  when  I  got  old 
enough  I  ran  off  to  the  matinees  whenever  I  could,  pre- 
tending, of  course,  to  be  playing  at  home  in  the  garden. 

"Because  everything  artificial  was  kept  so  far  away  from 
me,  I  began  to  like  artificial  things  more  than  real  ex- 
periences.   For  instance,  as  a  child  when  anybody  asked 

me  where  I  would  like  most 
of  all  to  live  I  would  say  im- 
mediately, back-stage  among 
the  stage  scenery. 

"For  the  same  reason  in 
childhood,  an  artificial  stage 
garden  where  the  flowers 
were  made  of  linen  and  flan- 
nel became  much  more  de- 
sirable to  me  than  a  real  gar- 
den. To  see  a  stage  tree — 
which  has  only  one  side — 
gave  me  more  kick  than  to 
see  a  real  tree. 

"Those  childish  fantasies 
have  stayed  with  me  some- 
what. Therefore,  when  I 
went  to  Hollywood  my  old 
childhood  world  of  pretense 
was  re-created.  I  found  an 
artificial  city — and  because  it 
was  artificial  I  enjoyed  it  a 
thousand  times  more. 

"Now,  of  course,  you'll 
want  to  know  what  I 
thought  of  the  Hollywood 
actors  and  actresses.  Did 
they  all  disappoint  me?  To 
be  candid,  I  must  admit 
nearly  all  did.  But  there 
were  a  precious  few  who 
were  more  wonderful  off  the 
stage  than  on. 

"Take  Norma  Shearer,  for 
instance.  On  the  screen  you 
realize  that  she  has  a  marvel- 
ous complexion  and  lovely 
hair.  It  is,  therefore,  an 
added  delight  to  see  that  her 
(Continued  on  page  128) 


Portrait  by 


Portrait  by 


Portrait  by 


Portrait  by 


for     May     19  30 


51 


Won  By  A 

VOICE 

Charles  Bickford  is  No 
Novarro  in  the  Close-ups, 
butVocallyheis  a  Don  Juan 

By  Keith  Richards 


The  woman  from  St.  Louis  stifled  a  shriek. 
"Gracious!"  she  gasped  to  her  table  companion. 
"Can  Charles  Bickford  really  look  like  that — 
hasn't  he  make-up  on?" 
Bickford  wrinkled  his  ruddy  countenance  into  a  grin 
as  he  overheard  the  conversation. 

'Tunny,  isn't  it,"  he  observed.  '"People  can't  believe 
a  guy  could  have  a  map  like  mine  and  still  live — let  alone 
make  money  on  it!" 

Framed  by  a  tawny  mane  of  carrot'red  hair,  Bickford's 
strong  features  stand  out  sharply  as  he  talks,  his  blue  eyes 
crinkly  with  pools  of  wit.  The  very  first  thing  you  notice 
about  Bickford  is  the  blondness  of  his  eye-brows,  strangely 
contrasting  the  violent  coloring  of  his  complexion  and 
hair. 

A  sailorman  by  inclination  and  temperament,  Bickford 
presents  an  enigmatical  figure  in  Hollywood.  If  he  owns  a 
Tuxedo  he  has  it  hid- 


Framed  by  a  tawny  mane  of  carrot-red  hair, 
Bickford's  strong  features  stand  out  sharply  as 
he  talks,  his  blue  eyes  crinkly  with  wit. 


den  somewhere.  He 
goes  about  town  in  a 
pair  of  dungarees  and 
a  white  sailor  hat 
jerked  over  his  eyes. 

He  towers  better 
than  six  feet-one  and 
tips  the  beam  at  185 
pounds  and  is  bone 
and  muscle  all  the 
way  through.  His 
fists  resemble  sledge- 
hammers and  he  perils 
the  table  as  he  thumps 
vigorously  to  add  em- 
phasis to  his  remarks. 

When  you  see  him 
walk  with  that  rolling 
gait  of  his  you  are 
not  at  all  surprised 
to  learn  he  is  more 
interested  in  his  suc- 
cess at  running  a  fleet 
of  whaling  boats  out 
of  San  Pedro  than  his 


He  goes  about  Hollywood  in 
sailor  hat.    And  he's  a 


glowing  record  of  stage  and  screen  triumphs. 

Bickford,  as  you  may  know,  was  brought  out  from  the 
New  York  stage  by  Cecil  B.  De  Mille  for  •"Dynamite." 
He  followed  this  in  quick  succession  with  '"South  Sea 
Rose,"  "Hell's  Heroes,"  and  "Anna  Christie."  Some  of 
his  Broadway  plays  were  "Chicago,"  "Gods  of  Lightning" 
and  "Bless  You  Sister."  Incidentally,  he  is  now  re-writing 
one  of  his  own  plays  for  the  stage,  spicily  titled,  "The 
Sandy  Hooker." 

This  red-thatched  giant  confesses  a  perpetual  stage  of 
unrest.     He  always  is  seeking  new  faces  and  places  to 

slake  his  burning 
thirst  for  high  adven- 
ture and  romance  in 
the  raw. 

You  become  curi- 
ous, as  he  talks,  most 
of  his  conversation 
startling  to  one  fol- 
lowing a  prosaic  and 
peaceful  existence. 

"But  why  whales?" 
you  ask. 

"Greatest  sport  in 
the  world,"  he  says. 
"And  they  bring 
plenty  of  dough." 

Ugly  wounds  at- 
tract your  attention 
as  he  folds  his  hands 
before  him. 

"Oh,  that's  noth- 
ing," he  explains. 
"Just  some  sea  ele- 
phant nips.  The  cussed 

a  pair  of  dungarees  and  a  white  thin§s  were  asIeeP  ™ 

handy  man  around  a  car.  (Cont.  on  page  118) 


52 


SCREENLAND 


"For  comfort  give  me  the 
close  bob,  but  for  my 
work  the  neck-length," 
says  Kay  Francis  (left), 
who  is  wearing  her  hair 
a  bit  longer. 


"Short  hair 
for  me!" 
smiles  Fay 
Wray.  If  a 
part  demands 
long  hair, 
Fay  just 
wears  a  wig. 


Woman's  crowning  glory  seems  to  be  giving 
her  a  lot  of  trouble  since  the  dressmakers 
decided  to  lengthen  all  the  skirts.  As  Janet 
Gaynor  says,  short  hair  just  doesn't  seem  to 
go  with  long  skirts.  And  long  hair  doesn't  seem  to  go 
with  short  skirts. 

"What  are  you  going  to  do?  Long  skirts  are  worn  in 
the  evening  but  short  skirts  are  still  the  vogue  for  day 
time  wear,"  we  asked. 

Janet  spread  her  little  hands  as 
though  giving  it  up.  "I'm  trying 
to  save  the  situation  by  letting 
mine  grow  long  enough  to  tuck 
under  for  different  types  of  dress- 
ing  but  still  short  enough  to  ar- 
range so  that  it  looks  bobbed  when 
I  want  it  that  way — the  neck- 
length  bob,  I  suppose  you  would 
call  it." 

Janet's  hair  is  naturally  curly, 
and  just  now  she  is  wearing  it  in 
a  flat  coil  at  the  back  of  her  neck 
and  pulled  rather  high  on  her 
head,  as  though  she  had  an  infant 
pompadour.  She  likes  this  new 
way  very  much.  It  gives  her  an 
appearance  of  dignity. 

Most  of  the  girls  think  the  bob 
is  about  on  its  last  legs  as  far  as 
pictures  are  concerned,  though 
they  prefer  it  for  personal  com' 
fort.  As  Gloria  Swanson  says, 
she  couldn't  think  of  bobbing  hers 
because  she  likes  to  change  her 
coiffure  with  each  gown.   To  her 

way  of  thinking,  a  whole  ensemble  Ru,th,  Ch^rton  enjoys 

'  i  i        .     i  i     , i  a  bob  which  is  cut  mst  a 

can  be  utterly  rumed  by  the  wrong  ears%  u  short  haif  easi 


SOB  or 


What  the  Hollywood 
About  the 

By  Helen 

line  of  one's  hair-do.  You  see  how 
'up'  we  are  on  the  latest  terms. 
'Hair-do'  is  Janet's,  though,  not 
Gloria's.  At  least,  I  never  heard 
Gloria  use  it. 

Hedda  Hopper,  one  of  our 
smartest  and  most  sophisticated 
players,  is  growing  hers  right  this 
minute.  "One  has  to,  with  the 
long  evening  dresses  coming  in," 
she  sighed.  "It  will  be  a  terrible 
nuisance  and  it  breaks  my  heart 
to  give  up  the  bob,  also,  I  think 
long  hair  makes  a  woman  look 
older;  but,"  she  laughed  gaily,  "I 
must  be  in  the  fashion,  darling! 
Fashion  has  decreed  long  skirts  and 
long  hair  is  a  natural  development 
— for  the  actress  at  least.  If  I 
were  not  on  the  screen  I  wouldn't 
think  of  growing  it." 

It  was  a  surprise  to  find  Norma 
Shearer's  hair  rather  long.  It  had 
always  impressed  me  as  being 
short.  I  remember  a  picture  made 
two  or  three  years  ago  in  which 


the  freedom  of 
little  below  her 
er  to  care  for? 


53 


Sue  Carol  believes  the 
wind-blown  bob,  which 
she  wears  in  pictures  and 
out,  is  the  most  becom- 
ing coiffure  she  can  find 
for  herself. 


Dolores  Del 
R  i o  prefers 
suffering  for 
a  tradition — 
her  tresses 
remain  long. 


GROW? 


Girls  are  Doing 
Coiffure  Question 

Ludlam 


she  played  a  girl  lawyer.  It 
looked  like  a  very  sleek  bob  that 
she  was  wearing,  but  Norma  told 
me  her  hair  was  very  long  at  that 
time.  She  dressed  it  tight  to  her 
head  with  a  little  knot  somewhere 
almost  out  of  sight.  She  bobbed  it 
shortly  after  that,  wishing  to  make 
her  head  look  smaller  but  curiously 
enough  it  had  the  opposite  effect. 
Now  she  has  almost  a  neck-length 
bob  which  she  curls  very  tightly 
so  that  it  can  be  arranged  to  look 
exactly  as  though  it  were  bobbed, 
and  yet,  for  evening  wear  she  can 
wind  the  curls  into  a  knot.  Norma 
always  likes  to  have  her  ears  and 
forehead  uncovered.  She  thinks 
women's  faces  lose  character  when 
their  foreheads  and  ears  are  com' 
pletely  covered.  But  then,  Norma 
forgets  that  she  has  the  type  of 
face  that  trying  style  of  hairdress' 
ing  particularly  becomes.  Her 
ears  are  small  and  lie  flat  to  her 
head,  and  her  forehead  and  face 


Short  hair  doesn't  go  with  long  skirts, 
decided  Janet  Gaynor;  so  she  has  adopted 
the  convenient  neck-length  bob. 


are  distinctly  classical  in  mould.  Believe  me,  that  makes 
a  difference,  Norma! 

Greta  has  established  the  Garbo  bob,  as  it  was  called, 
and  then  business  demanded  that  she  keep  it  that  way. 
It  was  said  that  Greta  chaffed  at  this  at  times  because  she 
wanted  to  crop  it  closely.  But  it  seems  to  me  that  any- 
thing  this  young  woman  really  wants  to  do,  she  does,  and 
the  studio  can  like  it — or  else.  Greta  went  in  one  of  her 
disguises  to  the  opening  of  her 
first  talking  picture,  "Anna  Chris- 
tie. "'  For  some  strange  reason 
Metro  did  not  give  this  picture 
one  of  Hollywood's  grand  open- 
ings. Maybe  they  figured  it  didn't 
need  the  publicity  push  it  would 
get  by  having  an  'opening.''  It 
gave  the  public  a  chance  to  see 
the  show  a  day  sooner  than  they 
would  otherwise,  and  I  guess  the 
fans  were  glad  of  that.  As  many 
as  could  crowd  into  the  theater 
were  there  and  Greta  was  much 
amused  to  see  what  seemed  to  be 
dozens  of  Greta  Garbos  sitting  all 
around  her.  "They  look  more  like 
me  than  I  do  myself,"  she  laughed. 
All  of  them  had  their  hair  the 
length  and  arranged  in  the  style 
she  wore  it  in  "The  Kiss."  In 
"Anna  Christie"  it  was  different. 
"And  now  will  the  poor  children 
have  to  get  used  to  wearing  it  that 
way?"  she  wondered.  In  "Ro- 
mance" she  will  do  it  another 
way,  but  she  has  not  decided  just 
how.  I'll  bet  there  will  be  a 
Garbo         (Continued  on  page  125) 


54  SCREENLAND 

A  GIFT  from 
Joan  and  Doug,  Jr. 

The  Famous  Young  Fairbankses  Offer  a  Gift  of 
their  Own  Choosing  to  the  Fan  Who  Writes  the 
Best  Answer  to  Their  Question:  Do  You  Want 
Joan  and  Doug,  Jr.  to  Play  Opposite  Each  Other 
on  the  Screen?  Give  Reasons  for  Your  Answer 


Joan  Crawford,  Douglas  Fairbanks,  Jr., 
and  the  Sessions  Westminster  chime 
clock.  It  is  a  Model  A,  eight-day  clock 
in  a  mahogany  case  with  gold-plated  sash 
and  silver  dial.  Yours  for  the  best  letter! 


for     May     19  30 


55 


THE  Hey,  Hey,  girl  is  a  home 
girl  now!  Joan  Crawford  has 
gone  domestic  and  she  loves 
it.  She  is  interested  in 
draperies,  embroideries,  furnishings 
and  everything  pertaining  to  the 
home. 

The  Sessions  Westminster  clock 
gift  is  definite  proof  of  how  thor' 
oughly  domesticated  both  Joan  and 
Doug,  Jr.  have  become.  On  the 
mantle  at  El  Jodo,  the  Fairbanks,  Jr. 
domain,  there  is  a  clock  identical 
with  the  one  they  are  offering  to  you 
for  the  best  letter  answering  their 
question.  And  this  same  model 
clock  is  used  in  all  the  Sessions  clock 
broadcastings.  However,  the  chimes 
can  be  silenced,  as  you  prefer. 

Now,  if  you  wish  to  win  this  gift 
clock  write  the  best  letter  answering 
Joan's  and  Doug's  question.  By  best 
letter  is  meant  the  clearest,  cleverest 
and  most  sincerely  written. 


Joan  and  Doug,  Jr.  have  dis- 
covered it's  the  key  that 
makes  the  clock  tick.  The 
clock  is  warranted  to  be  free 
from  mechanical  defects. 
With  ordinary  care  it  will 
give  a  life-time  of  depend- 
able service. 


The  clock  will  play  the  well- 
known  Westminster  melody 
as  follows:  four  notes  on 
the  first  quarter,  eight  notes 
on  the  half  hour,  twelve 
notes  on  the  three  quarters 
and  sixteen  notes  on  the 
hour. 


JOAN  and  Doug  want  to  know  if  you  think  it  a  good 
plan  for  a  husband  and  wife  to  play  opposite  each 
other  on  the  screen.  Do  you  think  there  is  as  much 
interest  in  a  film  when  the  leading  players  are  really 
married?  You  saw  Joan  and  Dodo  in  "Our  Modern 
Maidens" — only  they  weren't  really  lovers  in  this  pic- 
ture; Rod  La  Rocque  won  the  fair  Joan  from  Doug.  What 
were  your  reactions  after  seeing  them  on  the  screen  to- 
gether — favorable  or  unfavorable?  Would  you  like  to  see 
them  Co-star  in  a  film,  this  time  with  Joan  and  Doug,  Jr. 
living  happily  ever  after?  Tell  them;  they  want  to  know. 

Joan  and  Doug  have  given  this  question  considerable 
thought  and  are  anxious  to  please  you.  So  now  they  ask 
you  to  help  them  decide.   To  co-star  or  not  to  co-star, 


that  is  the  question  that  is  puzzling  Mr.  and  Mrs.  Douglas 
Fairbanks,  Jr.  Make  your  choice  but  put  it  in  writing  and 
win  the  reward  for  writing  the  best  letter. 

The  question  you  must  answer:  Do  you  want  Joan  and 
Doug,  Jr.  to  play  opposite  each  other  on  the  screen?  Give 
reasons  for  your  answer. 


Address  —  MR.   AND    MRS.   DOUGLAS  FAIRBANKS, 

SCREENLAND  CONTEST  DEPARTMENT 

45  West  45th  Street 
New  York  City 


JR. 


Contest   closes    May    10,  1930 


56 


SCREENLAND 


cTKeET  the  3tflNG 

A  new  idol?  See  Dennis  King  in  "The  Vagabond 
King"  and  Polish  Up  the  Old  Crown  and  Sceptre 

By  Frank  Vreeland 


The  screen  is  in  luck. 
It  has  not  only  cap- 
tured  Dennis  King, 
glamorous  figure  of 
stage  operetta  and  now  newly 
acclaimed  star  in  the  film  fir' 
mament  with  'The  Vagabond 
King.'''  But  it  is  to  retain  his 
singing  voice,  while  his  speak- 
ing tones  only  will  hereafter 
be  given  to  the  stage.  King 
himself  indicates  that  hereafter 
he  will  conserve  his  mellifluous 
vibrations  for  the  recording 
cameras  alone.  In  other  words, 
his  body  may  belong  to  Massa 
Broadway,  but  his  lyric  soul 
belongs  to  the  screen. 

Not  many  stars  of  the  foot' 
lights  are  able  to  make  this 
distinction,  virtually  insuring 
two  different  incarnations  on 
stage  and  screen.  None  of 
them,  so  far,  has  been  willing 
to  make  it,  keeping  their  melo- 
dious  vocalizings  for  one 
medium,  their  more  prosaic 
tonsilizings  for  another.  As 
anyone  who  has  seen  "The 
Vagabond  King"  will  acknowh 
edge,  it  is  a  happy  chance  for 
filmgoers  that  King,  given  an 
ovation  which  few  stars  receive  upon  their  film  debut,  has 
made  this  unique  decision  in  favor  of  the  silver  sheet. 

It  was  a  happy  chance  in  the  first  place,  that  King 
became  a  singing  star  at  all.  In  his  early  theatrical  days 
he  thought  only  of  being  an  actor  in  speaking  roles.  It 
might  be  the  usual  thing  at  this  point  to  tap  the  hooey 
reservoir  and  state  barefacedly  that  King  had  all  along 
been  nourishing  grand  opera  dreams,  and  that  his  ambition 
is  to  flourish  some  day  at  the  Metropolitan  and  La  Scala. 

As  a  matter  of  fact,  King  never  had  any  such  grandiose 
illusions.  He  used  to  sing  in  his  dressing  room  for  the 
best  of  all  reasons — for  the  sheer  joy  of  singing,  and  be' 
cause  he  had  to  use  up  his  surplus  supply  of  abounding 
vitality.  He  gave  impromptu  concerts  for  the  rest  of  the 
cast  in  his  dressing  room,  just  as  he  still  gave  them  while 
in  Hollywood  making  "The  Vagabond  King.'"  The  others 
in  his  various  companies  always  gathered  about  and  ex' 
pressed  great  enjoyment  of  his  robust  runs  and  zestful 
crescendos,  but  King  never  took  their  appreciation  seriously. 
Not  that  he  wished  to  make  a  show  of  bogus  modesty 


Dennis  King  is  the  latest  stage  star  to  enter  the 
lists  for  screen  supremacy.   He  has  youth,  good 
looks,  and  a  Barrymore  manner. 


over  it,  but,  by  a  strange  quirk, 
it  never  actually  entered  his 
head  that  he  might  make  some 
professional  use  of  his  voice. 

Theatrical  friends  actually 
had  to  work  over  him  to  spur 
him  into  the  new  field.  One 
of  those  who  urged  him  on 
a  vocal  course  was  O.  P. 
Heggie,  with  whom  King  acted 
in  his  early  days  in  America 
in  the  comedy  "HappyGo' 
Lucky,"  and  whom  he  met 
again  after  several  years  when 
Heggie  went  to  the  Paramount 
studios  in  Hollywood  to  play 
the  role  of  King  Louis  XI  in 
"The  Vagabond  King." 

The  star's  diffidence  is  all 
the  odder  when  it  is  consid' 
ered  that  he  came  to  this 
country  from  England  in  a 
production  notable  for  its 
songs  —  the  operetta  version 
of  "Monsieur  Beaucaire."  Yet, 
in  the  London  troupe  that 
sang  it  here  King  had  a  speak' 
ing  part  only,  and  its  tune' 
fulness  did  not  seem  to  inspire 
him  with  any  desire  to  have 
a  singing  role.  It  was  only 
the  insistence  of  friends  that 
finally  turned  him  to  taking  vocal  lessons  with  the  idea 
of  making  a  profit  out  of  what  had  been  a  pastime.  It 
was  sheer  luck  again  that  brought  him  his  first  opportunity 
in  a  lyric  role. 

"I  had  been  taking  lessons  for  a  while,"  he  says,  "when 
someone  told  me  that  Arthur  Hammerstein  was  looking 
for  a  leading  man  for  'Rose  Marie'1  who  could  sing.  My 
friend  advised  me  to  try  for  it.  I  didn't  expect  anything 
to  come  of  it,  but  I  just  thought  I'd  apply,  as  a  joke. 
Hammerstein  heard  my  voice  and  engaged  me,  much  to  my 
own  surprise." 

It  was  fortunate  for  King  that  Arthur  Hammerstein 
gave  him  his  first  test  in  his  new  type  of  performance. 
Hammerstein  was  associated  for  years  with  his  father,  the 
redoubtable  Oscar,  when  the  latter  was  making  operatic 
history  at  the  Manhattan,  and  he  is  one  of  the  few  Broad- 
way producers  who  really  knows  a  good  voice  on  the 
strength  of  his  own  judgment,  without  waiting  for  others 
to  pronounce  it  excellent.  It  was  likewise  a  felicitous  break 
for  King  that  the  producer  was  looking,  at  the  time,  for 


for    May     19  30 


57 


a  leading  man  with  quality  to  his  singing,  but  without 
a  reputation  which  would  detract  from  Mary  Ellis,  the 
star  of  "Rose  Marie."  Otherwise  King,  who  had  made 
his  mark  strikingly  as  the  Mercutio  with  Jane  Cowl  in 
her  presentation  of  "Romeo  and  Juliet"  but  had  not  had 
an  important  leading  role  on  Broadway,  might  have  had 
to  struggle  up  along  the  discouraging  road  of  minor  roles 
in  his  new  lyric  capacity. 

As  it  was,  he  became  a  leading  man  in  operetta  at 
one  bound.  At  one  bound,  also,  he  won  recognition 
in  his  metamorphosed  work.  Broadway  had  heard  vaguely 
that  he  was  taking  vocal  lessons  from  a  coach,  but  Broad- 
way, as  usual,  set  this  down  to  the  usual  publicity  walla- 
walla.  Broadway  got  one  of  the  surprises  of  its  life  when 
it  found  that  Dennis  King  was  not  overshadowed  by  the 
unquestioned  ability  of  Miss  Ellis. 

Still,  nothing  permanent  in  the  new  line  seemed  likely 
to  come  of  it  for  King,  and  he  was  all  prepared  to  drift 
back  to  speaking  pieces  for 
a  living.  But  his  vocal  fervor 
had  made  a  deep  impression 
on  Russell  Janney.  Here 
again,  King  had  fortune  with 
him.  Janney  was  a  young 
and  venturesome  producer, 
ready  to  take  chances  and 
without  a  big  bankroll  be- 
hind him.  Had  he  been  a 
more  established  manager, 
moving  only  by  precedent 
and  possessing  a  monetary 
supply  enabling  him  to  pro- 
cure high-priced  established 
singers,  he  would  not  have 
entrusted  an  important  part 
like  the  title  role  of  "The 
Vagabond  King"  to  a  com- 


King's  first  screen  role  is  the  colorful 
Francois  Villon,  which  he  played  in  the 
original  version  of  "The  Vagabond  King." 


A  singing  lover:  Dennis  King  says  it  with  melody 
to  Jeanette  MacDonald,  playing  a  proud,  but  not 
too  proud  princess  in  "The  Vagabond  King." 


He  brings  something  new  in  romantic 
masculine  charm   to   the  movies.  Like 
him  in  this  close-up? 


parative  newcomer  in  musical  shows,  with  just  one  such 
performance  to  his  credit.  But  Janney  was  ready  to 
take  a  chance,  and  as  a  result,  made  fame  for  King  and 
fortune  for  himself. 

Now  that  King  is  firmly  entrenched  on  both  screen 
and  stage,  he  wants  to  go  on  playing  romantic  costume 
parts  in  both  mediums,  with  the  aforementioned  difference 
in  song.  It  is  the  swing  and  dash  of  such  roles  that  fire 
most  adequately  King's  own  soaring  spirit. 

"I  want  to  play  such  resounding  roles  as  Hamlet,  Romeo, 
Richard  III,  Cellini,  and  LAiglon,"  he  said.  "I  have 
enough  money  now  to  live  very  comfortably.  In  future, 
either  before  the  camera  or  the  footlights,  I  want  to  do 
only  the  kind  of  roles  that  have  been  tugging  at  my 
imagination  for  years.  I  think  there  is  scope  for  them 
now.  Few  players  are  trained  nowadays  to  get  full  value 
out  of  the  sonorous  lines.  And  it  is  only  lines  and  parts 
with  a  sweep  and  spirit  to  them  that  really  capture  the 
mind  and  make  the  most  lasting  impression.  And  few 
players,"  he  added  with  a  smile,  "know  how  to  wear 
tights  nowadays.  I  happen  to  have  had  experience  at 
both." 

Two  other  things  he  is  (Continued  on  page  126) 


58 


SCREENLAND 


Hollywood 

Want  to  Crash  the  Screen  Stars'  Parties? 
Then  Make  the  Rounds  with  Grace  Kingsley 


T; 


~:    there'll  be  plenty  of  diplomats  there,  111  be 
bound!"  exclaimed  Patsy,  when  I  told  her  we 
were  invited  to  the  opening  of  the  new  Holly- 
wood Embassy  Club,  where  just  everybody  in 
pictures  would  be  present. 

Such  a  crush  Hollywood  has  rarely  seen  as  wedged  itself 
into  the  beautiful  French  period  ballroom  of  the  Embassy. 
The  furnishings  are  in  exquisite  taste,  with  much  olive 
green  set  off  by  a  little  gold,  and  with  rich  curtains,  carpets 
and  French  period  chairs  and  sofas,  with  even  the  tra- 
ditional  crystal  chandeliers  hanging  from  the  ceiling. 

We  were  to  go  with  just  the  nicest  crowd  —  Natalie 
Kingston  and  her  husband,  a  banker  named  George 
Andersh,  a  charming  man  and  most  devoted  to  his  beauti- 
ful wife;  Ona  Brown  and  Harvey  Barnes,  and  Ruth  Stone- 
house  and  her  husband,  Felix  Hughes,  the  vocal  teacher, 
who  has  dozens  of  picture  stars  under  his  tutelage. 

There  was  an  overflow  gathering  out  on  the  roof  garden, 
we  heard,  but  it  was  so  chilly  out  there  that  they  had 
rapidly  managed  to  find  themselves  places  indoors. 


Ina   Claire   was  at   the   opening   of   the  new 
Hollywood    Embassy    Club — latest    and  most 
exclusive  of  movie  gatherings. 


Colleen  Moore  was  one  of  the  most  prominent 
stars  at   the  opening   of   the  supper  club,  with 
John  McCormick,  her  producer  husband. 


"You  merely  go  into  a  huddle  on  the  dance  floor,"  re- 
marked Natalie.  "You  can't  really  dance,  you  know.  But 
we  Holly woodites  seem  to  love  that.  We  flee  from  a  quiet 
place  as  from  the  plague." 

"Oh,"  exclaimed  Patsy,  "there  are  Jack  Gilbert  and  Ina 
Claire,  not  looking  the  least  bit  divorced!" 

"But  you  can  hardly  see  the  guests  for  the  party!"  re- 
marked  Natalie. 

Louise  Fasenda  was  there  with  Hal  Wallis,  her  pro- 
ducer-husband, Louise  wearing  her  hair  in  a  sort  of 
skinned-backed  fashion,  so  that  she  looked  more  than  usual 
as  she  does  in  pictures.  Nobody  ever  knows  Louise  on  the 
street,  you  know,  and  she  can  travel  long  distances  on 
trains  and  boats  without  anybody  recognizing  her,  since 
she  is  really  a  handsome,  smartly  dressed  woman  in  real 
life. 

"Oh,  there  are  Catherine  Dale  Owen  and  Prince  Trou- 
betskoy!"  cried  Patsy.  "I  hear  they  are  more  or  less 
engaged!" 

"If  there  can  be  degrees  in  engagement — "  suggested 
Natalie. 


for     May     1  930  59 

Qarty  cNlGHTS 

By  Our  Party  Reporter 


Anita  Stewart  and  her  new  husband,  George 
Converse,  Jr.,  from  a  flashlight  taken  on  the  roof 
at  the  opening  of  the  smart  new  Embassy  Club. 


Blanche  Sweet  was  there,  looking  much  younger  and 
prettier  than  she  did  ten  years  ago,  accompanied  by  Danny 
Denker;  and  we  caught  sight  of  Virginia  Valli  and  Charles 
Farrell;  Edmund  Lowe — Lilyan  Tashman,  his  wife,  was 
in  New  York;  Norma  Shearer  and  Irving  Thalberg; 
Charles  Christie,  Darryl  Zanuck  and  Mrs.  Zanuck,  Wil- 
liam Seiter  and  Laura  La  Plante,  Basil  Rathbone  and  Ouida 
Bergere,  Elsie  Janis  and  Edmund  Goulding,  Ruth  Clifford 
and  James  Cornelius,  Alice  White  and  Sid  Bartlett;  Alice 
Day  and  her  fiance,  Jack  Cohn,  the  broker;  Fred  Niblo 
and  Enid  Bennett,  Antonio  Moreno  and  his  wife,  Mervyn 
Le  Roy  and  Edna  Murphy,  Norman  Kerry  and  Marion 
Harris,  Mr.  and  Mrs.  Tim  McCoy,  Anita  Stewart  and 
her  husband,  George  Converse,  May  McAvoy  and  Maur- 
ice Cleary,  Robert  Leonard  and  Gertrude  Olmstead, 
Robert  Edeson  and  his  wife,  Mr.  and  Mrs.  Jean  Hersholt, 
Mr.  and  Mrs.  Jack  Mulhall,  Colleen  Moore  and  John 
McCormick,  Mr.  and  Mrs.  Gus  Edwards  and  Armida, 
Hedda  Hopper,  Buster  Collier,  and  dozens  of  others. 

Mervyn  Le  Roy  just  would  Charleston,  no  matter  who 
his  par'        appened  to  be,  and  no  matter  how  long  he 


had  to  Charleston  on  one  spot. 

Hedda  Hopper  smiled  bravely,  as  she  remarked  from 
the  crushing  crowd  on  the  dance  floor — "Well,  this  is 
cheaper  than  Sylvia!"  Sylvia,  you  know,  is  the  masseuse 
who  helps  all  the  picture  stars  to  get  thin. 

Buddy  Rogers  was  there,  but  I  don't  know  whom  he 
brought. 

Paul  Whiteman  and  his  band  made  an  impressive  en- 
trance, very  late.  Paul,  we  heard,  was  a  little  peeved. 
He  had  asked  for  a  table  for  some  friends,  and  hadn't 
been  able  to  get  it.  At  any  rate,  he  didn't  play  for  the 
dancing,  as  we  had  expected,  but  he  and  his  band  played 
some  selections,  as  only  the  Paul  Whiteman  can,  and  then 
left,  covered  with  honors  and  great  dignity. 

That  playing  made  us  all  feel  so  peppy  that  Ona  Brown 
suggested  we  ought  to  have  community  singing!  But  she 
said  she  wouldn't  be  brave  enough  to  start  it. 

Ruth  Stonehouse  said  that  the  .first  time  she  heard 
Whiteman  play  he  was  great,  even  if  he  hadn't  his 
Tuxedo  technique  then!  (Continued  on  page  123) 


Fred  Niblo  and  his  wife,  Enid  Bennett,  were 
at  the  Embassy  opening,  too.    Tony  Moreno 
was  in  the  Niblo  party. 


60 


SCREENLAND 


ffI  Knew  Them 


IFhen 


By 

Ronnee  Madison 


SHADES  of  the  Caesars,  chorus  boys  and  Boston  cream 
pie,  who'd  have  thought  it! 
Quick,  Cleopatra,  the  snake,  this  little  girl's  got 
to  wake  up. 

Can  you  imagine  it?    The  old  gang's  gone  and  done  it! 

Yep,  just  what  they  always  wanted  to  do.    'Gone  movie.' 

Look!  I  see  the  names  of  Nancy  Carroll  and  Jack 
Oakie  in  lights  a  yard  high,  on  dear  old  Broadway.  And 
there's  Raymond  Hackett  featured  in  "Madame  X"  and 
James  Hall's  face  smiling  out  of  "Smiling  Irish  Eyes." 
Oooh,  and  watch  Joan  Crawford  packing  them  in  at  that 
big  house  up  the  street.  My  old  working  pals  and  associ- 
ates, climbing  the  ladder  of  fame  in  dawling  rapidity, 
until  this  old  cranium  cries  out  for  help. 

What  a  grand  bunch  they  were!  Ah,  give  me  an  ear, 
old  friend,  and  I'll  tell  you  a  story  of  the  faces  on  memory's 
wall.    Sad  music,  please. 

It  seems  only  yesterday  that  Nancy  Carroll  and  yours 
truly  were  ducking  rehearsals  of  a  musical  comedy  and 
giving  the  stage  manager  the  latest  in  alibis  and  horse- 
laughs.   Nancy,  the  sweetest-faced  Mick  who  ever  ogled 


Jack  Oakie  makes  everybody  laugh.  Here  his 
mother   is    reversing   the   order.    Tickle,  tickle! 


Nancy   Carroll  received  more  mash   notes  than 
Jimmy  Walker  when  she  was  on  the  stage.  Red- 
haired  Irish  Nancy,  who  knew  what  she  wanted 
and  went  after  it! 


at  the  front  row.  She,  who  received  more  mash  notes 
and  gifts  than  Jimmy  Walker  and  who  sent  back  all  the 
gifts  except  the  candy.  Whereat,  the  gang  proceeded  to 
go  on  a  candy  spree.  And  the  day  Nancy  and  I,  feeling 
great  on  two  orangeades,  (believe  it  or  not)  held  up  one 
of  the  leading  men  in  our  show  for  three  hamburger 
sandwiches  and  paraded  the  boardwalk  in  Atlantic  City, 
looking  for  a  poor,  cold,  hungry,  cop  to  give  the  extra 
sandwich  to.  We  found  the  cop  but  ate  the  sandwich 
ourselves  after,  he  having  informed  us  that  he  never  ate 
onions  while  on  duty.  Gosh,  and  I  remember  the  hot 
discussions  that  went  on  about  the  current  movie  stars 
and  what  we  would  do,  if  we  earned  their  money  and 
had  their  fame.  Nancy's  decision  was  to  take  care  of  all 
those  she  loved  first,  and  then  buy  all  the  clothes  in  the 
world.  Wonder  what  she  thought  the  rest  of  us  would 
wear?  Suggestions  to  Nancy  that  she  try  the  movies 
usually  met  with  the  same  reply,  "Well,  you  never  can 
tell."  "Who  knows?"  Ambitious  Nancy,  working  night 
clubs  after  the  regular  evening  show,  rehearsing  all  day, 
taking  care  of  her  adorable  wee  home,  and  trying  to  match 
her  hours  to  those  of  her  husband's.  Red-headed  Irish 
Nancy,  who  knew  what  she  wanted  and  went  after  it. 

Jack  Oakie!  Whew,  what  a  performer!  A  born 
trouper.  Possessed  three  passions:  cards,  coffee,  and  the 
eternal  feminine.  His  ruling  passion,  however,  was  his 
faith  in  himself.  Assuring  everyone  that  some  day  he'd 
be  'in  the  money.'  Had  a  quip  for  every  knock  that  life 
gave.  Always  borrowing  but  always  paying  back.  A 
scamp  who  would  kid  the  Pope  himself,  and  give  the 
shirt  off  his  back  to  the  first  one  who  asked  for  it.  When 
he  met  this  writer  for  the  first  time,  he  had  her  blushing 
furiously  within  five  minutes  by  insisting  she  never  got 
the  clothes  she  was  wearing  on  her  small  salary.  Decided 
he  was  going  to  the  Coast  to  crash  pictures,  since  the 
talkies  were  a  success  and  he  wasn't  proud.    Oakie  the  ir- 


for     May     19  30 


61 


Reminiscences  About 
Celebrities  by  a 
Trouper  Who  Knew 
Them  Before  They 
Were  Famous 


Joan  Crawford,  who  was  then  known  as 
Lucille  Le  Seur,  the  perfect  showgirl  be- 
cause  she    never   took   a   show  seriously. 


A   chap  with  a  twinkle  in  his  eyes  Raymond  Hackett  always  seemed  to  have 

though  never  a  crease  in  his  clothes,  an    inferiority   complex   away  from  the 

always  immaculate — Jimmy  Hall.  stage,  so  retiring  was  he. 


repressible!  A  divine  sense  of  humor,  a  ready  tongue, 
and  a  wit  not  always  without  its  darts.    'A  natural.' 

Then  there's  Raymond  Hackett,  the  nicest  juvenile  on 
the  legitimate  stage.  The  boy  who,  seeing  this  writer 
dressed  in  a  thin  spring  outfit  for  'art's'  sake,  shivering  in 
the  wings  of  a  Shubert  theater,  insisted  she  put  on  her 
coat  and  'art'  be  hanged.  Raymond  the  imperturbable, 
who  finally  broke  up  entirely,  when  a  dummy  which  was 
used  as  a  dramatic  highlight  in  a  well-known  play  was 
revealed  upon  uncovering  to  be  wearing  a  gorgeous  red 
necktie  and  sporting  a  pair  of  rakish  black  sideburns,  in' 
stead  of  the  customary  somber  attire.  The  boy  who  loved 
dogs  and  always  seemed  to  have  an  inferiority  complex 


away  from  the  stage,  so  retiring  and  unobtrusive  was  he. 
He  knew  he  was  going  to  Hollywood  under  contract  for 
pictures,  and  yet  he  never  told  a  soul.  A  lad  with  a 
sweet  crooked  smile,  a  kindly  heart,  and  a  charming  wife. 

Another  old  acquaintance!  James  Hall,  alias  Jimmy 
Hamilton.  What  a  crush  I  had  on  him!  'Gorgeous  Jimmy.' 
Always  immaculate  and  the  first  to  follow  the  dictates  of 
"What  the  well  dressed  man  will  wear.'  With  his  pal 
Nat  Nazzaro,  Jr.,  he  would  come  visiting  the  gang  and 
bring  with  him  pounds  and  pounds  of  grapes  as  a  treat, 
and  then  eat  them  all  himself.  A  lovable  rogue  always 
growing  serious  when  women  were  discussed  and  insisting 
that    although    they    were    all       (Continued  on  page  113) 


62 


SCREENLAND 


DRESSIER 

By 
Polly 

Moran 


A  Character  Close- 
Up  of  One  Great 
Trouper  by  Another 


A  portrait  of  the  real  Marie  Dressier — charming, 
cultured,  sympathetic  woman  of  the  world. 


Marie  Dressier  and  Polly  Moran,  the  one  and  only  female 
indulges  in  no  professional  jealousy.  Marie 

EVERY  time  I  think  of  what  a  splendid  actress  Marie 
Dressier  is  I  feel  like  hitting  her  over  the  head  for 
doing  these  slapstick  comedies.  Honest  to  good- 
ness,  it  makes  me  so  discouraged.  For  years,  Eve 
been  trying  to  make  her  behave  herself  and  be  serious, 
but  what's  the  use? 

And  oh,  what  a  grand  woman  Marie  is!  She  has  more 
good  in  her  little  finger  than  most  people  have  in  their 
whole  body.  She  does  more  for  other  people  than  every 
one  else  put  together  does  for  her.  When  Marie  was  slim, 
young  and  beautiful,  she  kicked  her  heels  in  the  back  row 
of  the  chorus  before  she  moved  up  to  row  one,  and  before 
she  made  her  first  big  hit  in  the  old  Weber  and  Field  Show. 
She  had  a  tough  time,  too.  So  now  when  she  sees  young- 
sters about  to  get  in  wrong  she  takes  them  to  a  quiet  tea 
at  her  house  and  when  the  tea  is  over  the  youngsters  find 
their  troubles  all  ironed  out.  And  when  we  go  into  a 
department  store,  you  ought  to  see  the  shop  girls  gather 
around  to  wait  on  Marie. 

And  it's  not  only  youngsters  who  are  crazy  about  Marie 
Dressier.  A  lot  of  people  who  come  out  to  this  Film-land' 
by-the-Boulevard  expect  to  find  sweet  sixteen  sitting  on 
top  of  the  world.  But  when  it  comes  to  real  popularity 
not  even  the  snappiest  profile  or  pair  of  legs  stand  a  chance 
against  our  Marie.  She  doesn't  bother  her  head  about 
face-lifting  or  mud-packs  or  beauty  parlors  and  the  passing 
of  that  girlish  figure  doesn't  worry  her  a  bit.  But,  by 
actual  count,  she  gets  more  invitations  than  any  three  of 
the  most  beautiful  flappers  of  filmdom  lumped  together. 
And  I  happen  to  know  that  a        (Continued  on  page  111) 


for    May     19  30 


63 


comedy  team  on  the  screen.    And  here  is  one  team  that 
and  Polly  are  pals,  on  and  off  the  screen. 

I wouldn't  want  Polly  Moran  to  know  it  for  the 
world,  but  I  think  it's  a  crime  the  way  she  clowns 
all  the  time  and  makes  a  fool  of  herself — and  such 
a  clever  actress.  Why,  Polly  was  a  sensationally  suc- 
cessful single  in  vaudeville  from  the  time  she  left  high 
school.  She  did  her  act  in  America,  Europe  and  Africa. 
She  knew  more  stage  doormen  by  their  first  names  before 
she  was  twenty-one  than  the  modern  movie  youngsters  will 
ever  know.  She  really  is  capable  of  serious  things,  you 
know.  And  to  think  she  would  choose  slapstick  comedy 
as  a  life-long  profession,  and  throw  custard  pies  and  let 
Billy  Haines  kick  her  and  all  that.  It's  quite  too  much  for 
me! 

For  years  Polly  and  I  have  been  inseparable  chums  on 
and  off  the  screen.  Perhaps  we  are  the  only  two  women 
ever  to  form  a  lasting  comedy  team — I  don't  know  about 
that.  I  do  know  that  for  years  we  have  worried  about 
each  other,  our  indispositions,  families,  income  taxes  and 
appetites. 

Polly  is  like  my  own  flesh  and  blood.  I  don't  know 
what  we  would  do  without  each  other.  Our  affection 
for  each  other  makes  our  working  hours  together  a  joy. 
There's  not  the  slightest  particle  of  jealousy  between  us. 
as  there  almost  always  is  in  teams.  Both  of  us  have  lived 
long  enough  to  know  better  than  that.  We  have  tried  a 
little  of  everything — love,  life  and  the  stage.  Now,  after 
all  these  years,  we  find  ourselves  in  something  else  again — 
talking  pictures.  We  are  starting  all  over  again.  We 
believe  there  is  no  such  thing  as  age  or  poverty,  for  one 
is  old  and  broke  only  when  health   (Continued  on  page  111) 


TOLLY 
o¥ORAN 

By 
Marie 
Dressier 


One  Half  of  a  Com- 
edy Team  Tells  on 
the  Other  Half  in  Fun 


....  j 


Polly  Moran   as  she  really   looks.    She  is  Billy 
Haines'  best  friend  as  well  as  Marie's. 


64 


SCREENLAND 


On 

£OCATION 

with 
"Numbered 


Men 


yy 


By  Helen  hudlam 


When  I  heard  this  location  was  to  be  in  a 
prison  camp  I  was  so  thrilled  I  didn't  even 
mind  getting  up  early  in  the  morning.  It 
was  my  first  meeting  with  a  prison  and  I 
thought  I  might  see  old  friends  there.  One  can  never 
tell  in  these  days  of  prohibition  and  alimony  just  where" 
lightning  will  strike,  which  for  no  particular  reason  re- 
minds me  of  a  story. 

A  motorist  was  getting  a 
great  kick  out  of  breaking 
all  the  Los  Angeles  traffic 
laws.  When  the  traffic  cop 
finally  caught  up  with  him 
an  explanation  was  de' 
manded.  "Do  you  think,,, 
the  cop  wanted  to  know, 
"that  this  city  was  built  just 
for  you  and  your  kiddy 
car?" 

The  motorist's  wife  leaned 
toward  the  irate  policeman 
and  said  soothingly:  "Don't 
you  mind  him,  officer.  He's 
just  been  drinking!" 

I  didn't  happen  to  know 
any  of  the  gang  at  the  camp 
but  one  of  the  actors  recog' 
nized  a  familiar  face.  Out 
of  the  fifty-six  prisoners 
forty-two  were  in  for  non- 
payment of  alimony.  "Say, 
you  needn't  laugh,"  the 
prisoner  said  to  the  actor. 
"You  may  be  married  your- 
self some  day!"  which  isn't 
much  of  a  compliment  to  us 
girls. 

At  that,  it  didn't  seem  to 


The  nice-looking  boy  at  the  left  is  Mervyn  Le  Roy, 
the  youngest  director   of  successful  screenplays. 
Next,  Helen  Ludlam,  our  Location  Lady,  Conrad 
Nagel,  and  Raymond  Hackett. 


The  scenes  for  "Numbered  Men"  were  made  at  a 
The  'prisoners'  in  this  shot  are  hard- 


be  such  a  hard  life.  In  fact,  it  made  men  of  two  or 
three  imprisoned  for  acute  alcoholism.  The  camp  was 
miles  up  in  the  mountains  beyond  Saugus  and  the  location, 
on  the  road  half  a  mile  above  the  camp.  The  prisoners 
were  working  some  distance  ahead  of  us.  They  couldn't 
be  in  the  picture  because  it  was  against  the  state  or 
prison  rules  but  they  had  to  walk  through  our  midst  on 

their  way  to  and  from  lunch 
and  seemed  to  be  very  much 
interested  in  movies  in  the 
making. 

It  wasn't  a  comfortable 
location,  but  there  was  plenty 
of  fresh  air.  The  view  was 
gorgeous  and  the  company 
was  swell.  There  we  sat  on 
a  road  nearly  a  mile  above 
sea  level  with  mountains 
towering  above  us  on  one 
side  and  a  deep  ravine  on 
the  other.  We  were  sur- 
rounded by  the  sound  trucks, 
the  busses  that  brought  the 
extras  who  acted  as  prison- 
ers, the  studio  cars,  location 
chairs,  the  radio  equipment 
for  Mervyn  Le  Roy  to  direct 
through,  and  all  the  rest  of 
it.  They  had  four  or  five 
loud  speakers  stationed 
nearly  a  quarter  of  a  mile 
apart  so  that  the  men  down 
the  road  would  know  just 
what  was  going  on  and 
could  follow  direction. 

Everyone  was  bundled  up 
in  heavy  coats;  in  fact,  I 
wore  two.    When  it's  cold 


for     May     19  30 


65 


prison  camp  miles  up  in  the  California  mountains, 
working  extras  from  Hollywood. 


Mervyn  Le  Roy,  the  Boy  Director, 
Puts  Raymond  Hackett  and  Conrad 
Nagel  Through  their  Paces  for  New 
Talker  Drama  of  Prison  Life 


was  his  first  picture.  He  didn't  know  at  first  whether  he  liked 
it  or  not.  "I  had  an  advantage  over  the  rest  because  I  had 
played  the  piece  on  the  stage  and  knew  my  lines,  but  they 
all  knew  picture  technique  so  we  were  about  even  in  the  end." 

He  told  me  about  a  party  he  went  to  shortly  after  "The 
Trial  of  Mary  Dugan"  had  been  released.  He  still  felt  like 
a  stranger  in  Hollywood  and  not  at  all  sure  of  himself  in  his 
new  medium  of  expression.  He  was,  therefore,  surprised  and 
touched  when  John  Gilbert,  whom  he  had  not  met  up  to  that 
time,  walked  across  the  room,  shook  him  by  the  hand  and  said, 
"I  just  want  to  tell  you  how  very  much  I  enjoyed  your  per- 
formance  in  'The  Trial  of  Mary  Dugan,'  Mr.  Hackett.  It  was 
excellent  work."  John  Gilbert  was  on  top  of  the  world  then. 
It  was  before  the  microphone  had  cast  its  shadow  over  his  bril- 
liant career.  "I  thought  it  a  very  friendly  and  gracious  thing 
for  him  to  do,"  Ray  continued.  "It  was  as  though  he  under- 
stood exactly  what  I  was  feeling  and  wanted  to  make  me  feel 
at  home  and  welcome.  He  hadn't  a  thing  to  gain  by  it.  He 
was  the  biggest  star  in  the  studio  in  which  I  had  a  doubtful 
future.  And  a  few  months  later  when  our  baby  was  born  Jack 
heard  about  it  and  sent  an  armful  of  flowers  to  my  wife,  which 
was  certainly  a  very  charming  gesture  from  a  busy 
star  to  a  newcomer  on  the  lot." 

But  now  Ray  is  all  set,  with  one  of  the  brightest 
n{  futures  Jangling  well  within  reach.  And  he 
adores  pictures.  "There  is  so  much  change,  never 
any  monotony.  I  used  to  get  frantic  after  a  play 
had  run  a  few  weeks.  Sometimes  Fd  be  in  a  cold 
sweat  before  I  went  on  for  fear  I'd  forget  my  lines. 
Did  you  ever  know  a  thing  so  well  that  you  don't 
know  it?  That's  what  happened  to  me.  You  never 
have  to  worry  about  that  in  pictures." 

That's  an  old  trick  in  the  theater.  I  heard  that 
it  happened  to  Edwin  Booth  after  his  one  hundredth 
performance  of  "Hamlet."  Toward  the  end  of  a 
scene  the  lines  completely  left  his  mind  and  they  had 
to  ring  down  the  curtain.   (Continued  on  page  108) 


Mervyn,  Helen  and  Ray  survey  the  location 
scene.     Note  the  long  line   of   sound  trucks 
and  studio  cars. 


in  sunny  California  there's  no  foolin'  about  it.  We 
were  all  asking  each  other  what  time  the  snow  fall 
was  reported  due. 

"Don't  you  want  to  talk  to  our  rising  young  juve- 
nile until  we  get  set?"  asked  Mervyn  Le  Roy.  "You'll 
be  warmer  in  the  car,  too." 

"Just  a  moment  till  I  get  my  mouth  on,"  laughed 
Raymond  Hackett  who  was  balancing  his  make-up 
box  on  his  knee  while  one  hand  held  a  mirror  and  the 
other  guided  the  grease  paint  in  the  way  it  should 
go- 

Ray  has  been  on  the  stage  since  he  was  knee  high 
to  a  grasshopper,  but  "The  Trial  of  Mary  Dugan" 


Conrad  Nagel,  Raymond  Hackett  and  George  Cooper  as 
"Numbered  Men"  in  a  sound  scene  directed  by  Le  Roy. 


66 


SCREENLAND 


ALLY' 


Joan  Bennett  is  one  of  the  daintiest,  sweetest  and  most 
demure  girls  on  the  screen.    But  she  is  really  practical, 
poised,  and  independent,  a  true  Bennett. 


GROWS 
UP 

Richard  Bennett's 
Pet  Daughter  is 
Now  a  Great, 
Big  Screen  Star 

By 

Will  F.  Portman 


Up  until  three  months  ago,  the  famous  stage  star, 
Richard  Bennett,  always  called  his  third 
daughter,  Joan,  'Little  Gaily.'  Those  were  the 
first  words  he  tenderly  whispered  into  her  baby 
ears  and  he  might  have  continued  using  the  term  of  en' 
dearment  indefinitely  had  she  not  paid  him  a  flying  visit 
after  spending  fourteen  months  in  Hollywood.  After  he 
saw  the  graceful  woman  who  glided  into  his  arms,  it 
seemed  ridiculous  to  address  her  by  the  childish  title  so 
he  dropped  the  'Little'  and  substituted  'Big.' 

It  is  truly  astonishing  what  one  year  of  Hollywood  will 
do  to  a  girl.  She  may  arrive  green  as  the  proverbial 
grass  only  to  have  her  color  complex  completely  changed 
within  a  few  short  months.  She  may  also  come  loaded 
with  laudable  ambitions  and  quickly  lose  them  in  the  mazes 
of  cabarets  and  night  clubs  where  world-famous  orchestras 
dispense  jazzy  sophistication.  There  are  a  few  who  retain 
their  ambitions,  thereby  rapidly  achieving  success,  and  to 
this  class  belongs  Tittle  Gaily.' 

As  James  Cruze  aptly  puts  it:  "There's  no  half-way 
station  in  pictures.  Either  you  go  up  or  down,"  meaning, 
of  course,  that  it  is  impossible  to  straddle  success.  One 
must  keep  climbing  else  some  other  person  will  occupy 
the  spotlight.  Fortunately,  Tittle  Gaily'  held  the  same 
viewpoint  as  Cruze  and  did  no  straddling.  All  of  her 
time  has  been  devoted  to  climbing  and  she  is  very  near  the 
top. 

Joan  takes  no  interest  in  the  night  life  of  Hollywood. 
Her  dad  warned  his  Tittle  Gaily'  against  such  things  and 
she  has  paid  strict  attention  to  his  advice.  Sometimes 


she  goes  to  the  Roosevelt  or  Montmartre  for  dinner,  but 
that  is  the  extent  of  her  rambles  after  dark.  Studio  officials 
almost  had  to  use  force  in  order  to  get  her  out  to  see  the 
premiere  of  her  first  picture.  Once  she  attended  an  Em- 
bassy Ball  as  an  invited  guest.  While  this  is  considered  a 
great  honor  by  actresses,  it  made  no  lasting  impression  on 
Tittle  Gaily.'  She  would  much  rather  play  bridge  with 
a  few  congenial  friends  than  spend  the  night  dancing  even 
if  it  was  at  an  Embassy  Ball. 

Night  clubs  are  Joan's  pet  loathing.  She  cannot  under- 
stand the  attraction  they  have  for  some  people.  Mention- 
ing the  name  to  Joan  is  like  shaking  a  red  parasol  at  a 
bull.  Only  once  has  she  visited  such  a  place  and  cares  for 
no  further  introduction. 

"Why,  the  very  title  is  misleading,"  declares  Joan.  "I 
will  admit  it  has  a  certain  fascination,  but  why  call  a 
place  that  never  closes  a  night  club?  My  daddy  tells  of 
a  Westerner  who  came  to  New  York  for  business  and 
pleasure.  His  first  act  was  to  send  for  a  guide  who  knew 
the  town.    When  that  worthy  arrived,  the  visitor  said: 

'Til  be  busy  until  evening.    Then  I  want  to  go  places." 

"Righto,"  answered  the  guide.  "We'll  start  with  a 
night  club." 

"  'Night  club?'  shouted  the  Westerner.  'Say,  fellow, 
I'm  an  all-day  sucker.  Show  me  some  place  I  can  keep 
going  for  twenty-four  hours.' 

"From  all  I  have  heard,  Hollywood  is  not  half  so  bad 
as  it  is  painted,"  continued  Joan,  "but  its  night  life  is 
better  publicized.  The  public  keeps  an  eye  on  its  amuse- 
ment center.    Stage  actresses  on      (Continued  on  page  121) 


The  Jvlost  "Beautiful  Still 
of  the  ^JVlonth 


C~\  SCENE  of  young  love  and  springtime  that 
rv/x  makes  us  want  to  grab  our  hat  and  rush  out 
into  the  country — somewhere,  anywhere! — 
to  some  such  babbling  brook  as  this.  But  could  we 
find  it?  And  when  we  got  there  would  it  look  so 
tempting?  Somehow,  the  location  men  of  the  film 
companies  have  a  talent  all  their  own  for  tracking 
down  beautiful  brooks  and  majestic  mountains  and 
restful  rivers.  They  never  look  the  same  when  you 
are  face  to  face  with  them  as  they  look  on  the  screen. 
It  may  be  because  the  film  version  always  includes  a 
handsome  young  couple  like  Catherine  Dale  Owen 
and  Paul  Cavanaugh  of  this  little  idyll  from  "The 
Circle,"  and  they  are  difficult  to  duplicate! 


Hurrell 


JOAN  CRAWFORD  as  the  spirit  of  spring. 
Open  your  windows,  everybody,  and  take 
long  deep  breaths  of  the  brand-new  air,  and 
then  perhaps  you  may  look  out  on  the  world 
with  some  of  the  zest  and  the  enthusiasm  of 
young  Mrs.  Douglas  Fairbanks,  Jr.  Anyway, 
isn't  it  worth  the  effort? 


ST.  MARY  of  the  Angel's,  Hollywood's  'Lit- 
tle Church  Around  the  Corner,'  offers  the 
actual  setting  for  this  inspiring  camera  studv. 
The  rapt  expression  of  Alice  White  as  she  poses 
here  transports  her  far  from  motion  pictures 
and  studios,  and  carries  us  back  to  the  Easter 
Sundays  of  childhood. 


We  started  out  to  say  something  about 
these  pictures  of  Walter  Pidgeon  being  uni- 
formly excellent;  then  we  thought  better  of 
it.  After  all,  anyone  can  pun;  the  art  is 
in  resisting  the  temptation.  Besides,  you 
can  all  see  for  yourselves  that  Walter  cuts 
a  dashing  figure  in  "Bride  of  the  Regiment," 
and  you  can  just  write  your  own  fan  letters! 


Elmer  Fryer 


It's  about  time  Mr.  Pidgeon  is  given  an  opportunity 
to  sing  and  swagger  his  way  through  a  real  part. 
He  has  one  of  the  most  expert  voices  in  all  Holly- 
wood ;  and  he  has  had  surprisingly  few  chances  tc 
use  it  for  the  singing  screen.  But  now  that  he  has 
won  a  rich  role  we  may  expect  to  see  and  hear  him 
at  regular  intervals.    We  won't  complain. 


Vivienne  Segal  brings  one  of  the  best  voices  on, 
Broadway  to  singing  pictures.  She  has  long  been  a 
favorite  figurine  of  the  more  important  musical 
comedies  in  Manhattan;  and  if  her  opportunities  in 
the  films  are  equal  to  her  abilities  she  will  soon  rival 
her  own  stage  success.  Just  another  case  of  "Good- 
bye, Broadway — hello,  Hollywood'" 


Elmer  Fryer 


In  "Bride  of  the  Regiment,"  as  in  "Song  of 
the  West,"  little  Miss  Segal  is  surrounded 
by  uniforms,  sung  to  by  bold,  brave  war- 
riors, pursued  by  gold  braid.  Her  dainty 
charm  is  enhanced  by  ermines  and  silks  and 
satins,  and  she  wears  them  in  the  most 
approved  musical  comedy  manner.  Each 
new  musical  romance  seems  more  elaborate 
than  the  last. 


DON'T  take  Charlie  Farrell's  dreamy  look 
too  seriously,  young  ladies.  It  is  more 
than  likely  that  he  is  only  wondering  how  much 
longer  his  current  picture  will  take  in  the  film- 
ing so  that  he  can  go  for  a  cruise  on  his  yacht. 


f 


JANET  GAYNOR  is  really  much  happier 
than  she  looks  here.  She  has  just  been  slated 
for  the  leading  role  in  "Liliom,"  in  which 
she  will  have  her  greatest  acting  opportunity 
since  her  memorable  Diane. 


Up  in  Carl  Van  Vechten's  "Nigger  Heaven" 
there  are  many  interesting  types.  That's  why 
rounsts  consider  no  visit  to  New  York  complete 
without  a  trip  uptown  to  Harlem.  There  they 
can  see  the  Jusky  spirit  of  the  dance  in  its 
native  habitat.  There  they  can  hear  the  primi- 
tive music  that  passes  as  blues,'  and  sometimes 
dance  to  it  themselves.  Lila  Lee,  out  in  Holly- 
wood, has  evidently  heard  of  Harlem. 


Presenting  Lila  Lee  in  a  New  Role, 
That    of    a    Particularly  Tempting 
Chocolate  Confection 


-ill  photographs  hy  Preston  Duncan 


Lila  Lee  is  a  real  actress.  Personally  one  of 
the  most  demure  and  dignified  of  all  screen 
girls,  she  has  the  artistry  and  the  imagination 
that  enable  her  to  play  any  part  and  play  it 
well.  Here  she  submerges  her  own  soft  and 
sweet  beauty  in  the  character  of  a  seductive 
Harlem  night-club  queen,  stomping  and  strut- 
ting her  way  through  the  steps  of  a  primitive 
dance.    Thanks,  Lila.  for  these  studies. 


Gene  Robert  Richee 


STANLEY  SMITH  in  "Sweetie"  stopped  the 
whole  screen  show.  In  his  nice  boyish  way 
he  caused  a  polite  sensation  as  a  pleasant  juve- 
nile who  could  really  sing  and  not  make  faces 
while  doing  so.  With  Nancy  Carroll  in  "Honey." 


STARS  may  come  and  stars  may  go,  and  it's 
no  secret  that  they  do,  but  Jack  Holt  rides 
on  forever.  He  is  no  longer  a  western  star,  but 
has  proved  his  ability  by  playing  a  variety  of 
rugged  roles  in  the  more  or  less  audible  drama. 


* 

1 

Hurrell 


THE  real,  off -the  screen  William  Haines,  nor 
the  Billy  of  the  smart-aleck  movies;  a  clever 
young  man  who  sometimes  speaks  without  wise- 
cracking, and  whose  best  friend  is  Polly  Moran. 
May  we  meet  this  Haines  in  the  movies! 


Ruth  Harriet  Louise 


NORMA  SHEARER  will  make  one  more 
talking  picture  before  leaving  Hollywood 
lor  a  European  vacation.  She  has  been  making 
pictures,  and  good  ones,  for  five  vears,  and  has 
earned  her  rest.  But  don't  stay  away  too  long. 


EAUTY  AND 
THE  BUNNY 


Somehow  we  never  suspected  that 
Easter  rabbits  and  things  could  be 
so  much  fun! 


You  Know  It  Must  Be  Spring,  When 
Lovely    Movie    Ladies    Dress  Up 
Like  Babies! 


Above:  we  hope  Rolf  Armstrong  won't 
mind  if  we  admit  that  Alice  White  is 
positively  our  favorite  artist. 


_ 


Russell  Ball 


BLANCHE  SWEET  was  the  original  screen 
"Anna  Christie"  of  the  first,  the  silent  ver- 
sion in  the  days  before  Garbo  and  sound. 
Blanche  is  now  using  her  voice  to  advantage, 
winning  new  friends  and  laurels 


for     May     19  30 


Left,  James  Corbett  and 
right,  Walter  Catlett  in 
the  minstrel  scene  from 
"Happy  Days." 


From 
"Happy  Days": 


Walter  Catlett:  "Well,  Mr.  Corbett,  to  tell 
you  the  truth  I'm  feeling  very  spiritualistic 
this  evening." 

Jim  Corbett:    "How's  that?" 

Walter  Catlett:    "Just  medium." 


Walter  Catlett:  "Pardon  me,  Mr.  Corbett, 
would  you  mind  telling  me  why  in  the  world 
they  call  you  'Gentleman  Jim'?" 

William  Collier:  "Because  he's  so  polite 
— why,  he  never  raised  his  hand  to  his  wife 
once  in  his  life  without  lifting  his  hat  first." 


EST 


of  the  ffHONTH 


From  "Not  So  Dumb": 

Gordon  (Elliot  Nugent) :  "Oh,  now,  Dulcy, 
dear — I  know  how  tender-hearted  you  are, 
but  to  have  this  man  here  With  Forbes 
coming  " 

Dulcy  (Marion  Davies) :  "Oh,  but  mistakes 
will  happen  in  the  best  ventilated  families." 


From  "So  Long  Letty": 

Grace  (Patsy  Ruth  Miller) :  "They  didn't 
used  to  be  this  way." 

Letty  (Charlotte  Greenwood) :  "Oh,  men 
are  peculiar.  They  spend  their  courting  days 
telling  us  how  unworthy  they  are,  and  their 
married  life  proving  it." 


From  "Burning  Up": 

Ruth  (Mary  Brian)  :  "All  our  industries 
are  marked  here.  Now  this  is  the  peach 
cannery." 

Larrigan  (Richard  Arlen) :  "I'm  not  so 
interested  in  them — canned!" 


84 


SCREENLAND 


Reviews 


Dennis  King  and  Jeanette  MacDonald  in  the  gor- 
geous musical,  "The  Vagabond  King." 


A  scene  from  "Lummox,"  directed  by  Brenon, 
with  Ben  Lyon  and  Winifred  Westover. 


The  Vagabond  King 


COMPULSORY!  It  may  be  that  I  have  let  myself  be 
carried  away  by  the  sheer  beauty  of  some  of  the  scenes 
in  this  all-Technicolor  screen  version  of  the  stage  musi- 
cal success.  Or  it  may  be  Dennis  King's  voice.  At  any 
rate,  I  am  the  best  little  press  agent  for  "The  Vagabond  King" 
that  you  could  hope  to  find.  I  really  enjoyed  myself.  It  is  a  gor- 
geous affair,  and  I  want  to  take  off  my  new  spring  chapeau 
right  now — it's  a  little  copy  of  a  perfectly  sweet  Reboux  model, 
my  dears,  with  one  of  those  brand-new  scoop  brims,  and — but 
as  I  was  trying  to  tell  you,  I'd  take  it  off  and  make  a  long,  low, 
sweeping  bow,  right  in  tune  with  the  times  of  Louis  XI.,  to  the 
director  responsible  for  much  of  the  grandeur:  M.  Ludwig 
Berger.  He  rates  next  to  Lubitsch  in  swank  and  spirit,  and  I 
can't  pay  him  any  higher  compliment.  Francois  Villon  as  the 
hero  makes  any  picture  practically  sure-fire  for  me,  anyway; 
and  I  never  met  a  nicer  Francois  than  Dennis  King.  What  a 
voice!    Jeanette  MacDonald  is  sweet.    O.  P.  Heggie  is  perfect. 


Lummox 


DEDICATED  in  all  sincerity  to  the  inarticulate  souls  of 
the  world,  this  picture  directed  by  Herbert  Brenon 
from  Fannie  Hurst's  novel  is  a  significant  drama.  I 
do  not  recommend  it  to  one  in  search  of  light  and 
frothy  entertainment.  It  is  as  slow,  heavy  and  yearning  as  its 
heroine,  the  lumbering  servant  girl  called  the  Lummox.  But  it  is 
also  a  picture  well  worth  seeing.  "Lummox"  is  the  saga  of  a 
peasant  soul,  striving  for  expression,  hungry  for  love,  who 
finds  solace  in  service.  The  rise  and  fall  of  Lummox — from 
slavey  in  a  sailors'  boarding  house  to  cook  in  a  mansion,  where 
she  becomes  at  once  the  victim  and  the  inspiration  of  the  young 
master  of  the  house,  through  a  series  of  domestic  jobs  until,  in 
her  old  age,  she  finds  a  little  rest — is  a  moving  and  a  sincere 
story.  Winifred  Westover  gives  a  performance  so  real  as  to 
be  almost  painful;  yet  there  is  beauty  in  it,  too,  Dorothy  Janis 
is  the  other  outstanding  member  of  the  cast,  very,  very  good. 


Happy  Days 


Charles  Farrell  and  Janet  Gaynor  in  their  number 
from  the  Movietone  revue,  "Happy  Days." 


WELL,  "Happy  Days!"  Happy  days  to  you.  This 
Fox  Movietone  extravaganza  produced  on  the  new 
Grandeur,  or  wider  film,  has  no  drinking  songs  to 
illustrate  its  title.  But  it  has  a  cast  to  make  you 
gasp.  In  other  words,  it  is  Movietone's  "Hollywood  Revue"  or 
"Show  of  Shows."  Marjorie  White  and  Richard  Keene,  the 
young  lovers  of  the  story,  can  boast  the  most  expensive  sup- 
porting cast  in  existence;  one  member  of  it  alone  justifies  that 
assertion — Mr.  Will  Rogers.  Will  chews  gum  and  a  few  words 
and  then  strolls  away.  But  his  place  is  quickly  filled  by  those 
excellent  comedians,  Walter  Catlett,  William  Collier — yes,  Bus- 
ter's dad — George  Jessel,  James  Corbett,  and  Edmund  Lowe 
and  Victor  McLaglen.  There  is  a  song  number  by  Janet  Gaynor 
and  Charles  Farrell  in  which  these  poetic  young  people  are 
called  upon  to  impersonate  a  couple  of  babies.  I  suppose  it 
was  cute;  the  woman  sitting  next  to  me  said  so.  Marjorie 
White  is  a  preposterous  and  engaging  young  cyclone  who  sings, 
dances,  and  wise-cracks  in  the  Broadway  manner. 


for     May     19  3  0 


Best  Pictur 


Screenland's  Critic  Selects  the 
Six  Most  Important  Films 
of  the  Month 


The  Green  Goddess  BlBC 


A  NOTHER  picture  to  put  on  your  'Must'  list.  You'll  have 
/ \  a  perfectly  grand  time  if  you  approach  "The  Green 
/  \  Goddess"  in  the  proper  spirit,  which  is  a  cross  between 
*^  the  hilarity  you  feel  upon  going  to  a  circus  and  the 
reverent  air  you  assume  when  setting  out  to  see  a  little  Shakes- 
peare. "The  Green  Goddess"  is  melodrama  of  the  most  ramp- 
ant kind;  but  it  stars  Mr.  George  Arliss,  which  lifts  it  into  the 
platinum  class  immediately.  For  Mr.  Arliss  could  play  "The 
Cohens  and  the  Kellys  in  Antwerp"  and  make  it  a  high-class 
entertainment.  You  can  go  right  ahead  and  enjoy  this  thrilling 
meller  of  the  English  lady,  her  husband  and  her  admiring  but 
respectful  friend  precipitated  by  an  airplane  inadvertence  into 
the  little  Himalayan  kingdom  of  the  very  sinister  and  very 
charming  Rajah,  who  makes  them  feel  at  home  in  his  own 
special  way.  Alice  Joyce  is  the  lovely  lady  who  says  "No,  no, 
you  beast"  to  the  delightfully  humorous  Mr.  Arliss;  while  H. 
B.  Warner,  Ralph  Forbes  and  Ian  Simpson  are  corking. 


5f-SEAL-0F) 


Street  of  Chance 


WHAT  with  the  vogue  for  biographies  of  the  more 
important  gangsters  and  the  haughtier  and  high-class 
criminals,  "Street  of  Chance"  is  timely.  It  is  right 
in  line  with  the  present  policy  of  letting  the  pub- 
lic in  on  the  'inside'  goings  on  of  crookdom  and  gangland.  There 
is  really  nothing  censorable  about  these  fictional  revelations;  you 
may  as  safely  permit  little  Willie  to  attend  "Street  of  Chance" 
as  the  current  release  of  his  particular  'western'  favorite;  be- 
cause the  villain  gets  his  with  a  thoroughness  and  inevitability 
seldom  if  ever  realized  in  more  polite  screenplays.  Somehow, 
the  suave  presence  of  William  Powell  in  the  leading  role  of 
the  gentleman  gambler  in  this  film  lifts  it  above  the  ordinary 
run.  Mr.  Powell  is  a  superb  actor  and  he  plays  in  this  instance 
a  pretty  exemplary  character — who  sacrifices  a  blissful  future 
with  Kay  Francis  to  save  his  'kid  brother.'  If  I'd  been  con- 
sulted the  sacrifice  would  have  been  the  other  way  around. 


Song  of  the  West 


IF  it  hadn't  been  for  those  swell  'shots'  in  Technicolor  of 
the  covered  wagons  winding  their  way  across  the  plains, 
I  don't  mind  telling  you  that  "Song  of  the  West"  would 
never  have  made  the  "Six  Best  Pictures  of  the  Month" 
grade  in  Screenland.  But  there's  something  about  the  sight  of 
the  good  old  covered  wagons  of  my  ancestors  that  stirs  my 
better  instincts;  and  I  am  right  away  in  the  proper  mood  to 
appreciate  the  gentleman  gambler  played  by  John  Boles,  the 
Colonel's  daughter  as  sung  by  Vivienne  Segal,  the  comedy  mule- 
driver  of  Joe  E.  Brown,  and  other  appurtenances  of  the  period 
of  1849  in  American  history,  perhaps  more  than  the  occasion 
actually  warrants.  From  the  stage  play,  "Rainbow,"  which  had 
good  music  and  good  ideas,  "Song  of  the  West"  never  really 
comes  off  in  its  screen  version.  It  is  laboriously  directed,  and 
the  song  numbers  are  interpolated  in  the  good  old  "Ah,  here 
come  the  boys  now!"  school.  But  it  is  all  lavishly  produced  and 
cast;  and  the  admirers  of  Mr.  Boles  will  glory  in  his  singing 
and  love-making,  see  if  they  don't. 


"The  Green  Goddess"  is  an  enthralling  melodrama 
with  George  Arliss  and  Alice  Joyce. 


Kay  Francis  and  William  Powell,  two  superb  actors, 
make  "Street  of  Chance"  worth  while. 


"Song  of  the  West"  is  a  musical  of  the  days  of  '49 
with  Vivienne  Segal  and  John  Boles. 


86 


SCREENLAND 


Critical  Comment 


Roadhouse  Nights 


THIS  picture  had  a  narrow  escape  from  being  included 
on  our  list  of  the  six  best.  It  didn't  get  in  because 
Scree nland  is  pretty  fussy  about  its  six  best,  believing 
it  should  include  if  possible  only  those  films  which  the 
whole  family  may  see — in  a  body.  Speaking  of  bodies,  there 
are  so  many  in  "Roadhouse  Nights"  that  Aunt  Ella  and  Grand- 
ma might  become  confused.  And  the  fair  lady  of  the  film, 
played  by  the  glamorous  Helen  Morgan,  wins  back  her  boy- 
hood sweetheart  even  though  she  has  been  a  roadhouse  hostess. 
So  you  can  see  the  position  Screenland  is  in!  Enjoying  "Road- 
house Nights"  as  we  did,  and  admiring  Miss  Morgan  and  her 
co-star  Mr.  Charles  Ruggles  as  we  do,  all  we  can  advise  you 
is,  see  it  by  all  means  but  don't  say  we  didn't  warn  you  it  is 
just  a  slice  of  life  in  the  rough.  It's  exciting,  funny — Jimmy 
Durante  is  in  it — and  sophisticated. 


Puttin*  On  the  Ritz 

HARRY  RICHMAN'S  screen  debut,  which  you  will  want 
to  attend  if  for  no  other  reason  than  to  see  the  man 
who  made  a  hit  with  our  Clara.  Mr.  Richman  is  well 
known  in  New  York,  where  he  appears  as  a  musical 
comedy  and  night  club  star.  It  remains  for  him  to  make  a  hit 
with  other  audiences,  and  if  an  ingratiating  voice  will  do  the 
trick,  Harry  is  already  an  established  film  star.  His  singing  is 
a  good  reason  for  his  appearance  on  the  screen.  Harry  is  no 
mean  vocalizer.  Every  chance  is  given  him  to  make  good  in 
his  screen  debut.  His  leading  lady  is  Joan  Bennett.  Lilyan 
Tashman  and  Jimmy  Gleason  are  present.  Settings  by  W.  C. 
Menzies.  Music  by  Irving  Berlin.  Puttin'  on  the  Ritz  and 
There's  Danger  in  Your  Eyes  are  good  tunes.  An  "Alice  in 
Wonderland"  number  is  exquisite.  Good  entertainment,  whether 
you're  just  wild  about  Harry  or  not. 


A  Lady  to  Love 


She  Couldn't  Say  No 


SHE'S  Vilma  Banky,  playing  her  first  all-talking  role.  I 
wish  they  had  selected  a  more  glamorous  part  for  Miss 
Banky's  audible  debut.  I  always  think  of  her  as  the  fair, 
proud  princess  in  the  tower.  Here  she  comes  down  to 
earth  as  a  lonely  little  waitress.  Well,  it's  a  good  acting  part, 
and  the  star  gives  a  fine  performance;  but  she  should  have  made 
a  more  auspicious  entrance  into  the  exacting  realm  of  the  micro- 
phone. Victor  Seastrom's  direction  of  this  speaking  screen 
version  of  "They  Knew  What  They  Wanted"  is  intelligent,  with 
Edward  Robinson  and  Robert  Ames  supplying  more  than  ade- 
quate support.  Vilma's  accent  is  no  handicap;  her  voice  is 
quite  all  right.  But  she  is  no  longer  the  remote  lady  of  mys- 
tery; she  is  robbed  of  all  her  props  of  gorgeous  gowns  and 
stunning  settings.  She  makes  the  most  of  a  difficult  assign- 
ment and  deserves  a  better  part  next  time. 


DO  you  like  Winnie  Lightner?  If  you  don't  like 
Winnie  Lightner,  then  I  advise  you  not  to  read  this 
review  but  to  skip  on  to  the  next  one.  Because  "She 
Couldn't  Say  No"  is  all  Miss  Lightner.  You  remem- 
ber her  in  "The  Gold-Diggers  of  Broadway,"  of  course:  her 
mean-mama  voice,  her  comedy  falls,  and  her  generally  raucous 
behavior.  You  have  to  like  Winnie  a  lot  to  like  this,  her  first 
starring  film.  It's  another  racketeer  plot,  with  occasional  sobs 
by  the  star,  assisted  by  Chester  Morris  in  another  one  of  his 
familar  characterizations.  When  Winnie  sticks  to  her  expert 
clowning,  the  picture  is  amusing,  although  not  as  frisque  as  its 
title  insinuates.  Winnie  is  never  as  gay  and  abandoned  as  in 
the  memorable  supper  party  scene  in  "The  Gold-Diggers  of 
Broadway"  in  which  she  falls  into  Albert  Gran's  lap;  but  then, 
ho-hum,  life's  great  moments  don't  happen  every  day. 


for    May  1930 


87 


on 


Current 


ms 


Not  So  Dumb 

THIS  seems  to  be  the  time  and  place  to  tell  Marion 
Davies'  classic  line  when  called  upon  to  make  a  speech 
before  a  woman's  club.  Marion  stood  up,  smiled,  and 
said:  "I  can't  make  a  speech;  I'm  just  a  dumb-bell!" 
and  sat  down.  Since  then  Marion  has  been  making  speeches 
right  and  left  before  the  microphone  and  making  better  ones 
as  she  goes  along.  If  Marion  is  a  dumb-bell  I  wish  more  movie 
stars  were  dumb.  Her  latest  comedy,  "Not  So  Dumb,"  was 
adapted  from  "Dulcy,"  the  stage  play;  and  it  is  wholesome  fun, 
from  start  to  finish.  Marion  plays  a  well-meaning  but  vague 
young  woman  whose  idea  of  'helping'  her  hard-working  fiance 
is  to  interfere  in  his  business  deals,  annoy  his  guests,  and  other- 
wise behave  moronically,  all  with  the  best  intentions.  But 
as  Marion  plays  her,  and  it's  her  most  difficult  role,  you  like 
Dulcy  so  well  that  you  wish  she'd  keep  on  being  a  nuisance. 


The  Melody  Man 

IF  you  are  not  too  proud  to  have  your  sentimental  moments 
you  may  enjoy  this  picture.  It  has  an  idea  that  may  yet, 
more  ambitiously  handled,  be  used  to  make  a  really  imag- 
inative musical  screenplay.  A  musician  of  the  old  school 
and  a  young  jazz  band  leader  clash  over  the  trend  of  the  times  to 
dethrone  the  old  masters  and  enthrone  the  new  blues.  Think  of 
the  possibilities  here:  Wagner  versus  Gershwin,  symphony  against 
saxophones — with  sound  accompaniment.  Some  day  it  may  be 
done.  As  it  stands,  "The  Melody  Man"  is  a  charming  little 
drama  of  a  Viennese  composer  exiled  to  Manhattan,  of  his 
daughter's  love  for  a  Rudy  Vallee  played  by  Buster  Collier, 
and  his  conversion  to  modern  music  when  he  hears  his  pet 
symphony  ragged  by  daughter's  boy  friend,  believe  it  or  not. 
John  Sainpolis  is  admirable  as  the  composer,  and  Alice  Day  is 
competent  and  pretty  as  the  heroine. 


Dangerous  Paradise 

THIS  title  inspires  me  to  deliver  a  little  lecture,  not 
intended  by  Messrs.  Paramount  when  they  titled  their 
picture.  The  dangerous  paradise  of  the  motion  picture 
industry  is  stardom.  Yes,  stardom,  I  say;  and  I  stick 
to  it.  Before  Nancy  Carroll  and  Richard  Arlen  were  stars, 
they  were  given  interesting  parts  to  play;  parts  they  could 
revel  in.  But  now  that  they  have  been  promoted,  now  that 
they  have  been  exalted  to  stellar  billing,  their  personalities  be- 
come pegs  to  build  plots  around;  and  such  inantities  as  "Danger- 
ous Paradise"  result.  It's  another  South  Sea  story,  and  every- 
thing tiiat  always  happens  in  South  Sea  stories  happens  all  over 
again.  Except,  I  beg  its  pardon,  there  is  no  villainous  pearl- 
trader.  No,  but  there  are  five  other  villains  to  make  up  for  it. 
Of  course,  I  like  Nancy  Carroll  and  Dick  as  well  as  you  do; 
but  I'm  sorry  they  are  now  officially  'starred.' 


So  Long  Letty 

YES,  the  same  old  Letty  who  was  the  belle  of  musical 
comedy  quite  some  spell  back.  It  has  taken  her  a  long 
time  to  reach  the  screen;  and  I  can't  help  thinking  she 
should  have  hurried.  Because  she  seems  to  be  just  quaint 
old  stuff  today,  even  if  Charlotte  Greenwood  does  play  her. 
Miss  Greenwood  starred  in  the  original  musical  comedy  "So 
Long  Letty"  on  the  stage;  she  is  one  of  America's  premiere 
comediennes.  But  she  could  have  made  her  screen  debut  in  a 
more  modern  piece.  There  is  nothing  new  in  the  exchange  of 
wives  idea,  as  the  more  tolerant  of  you  will  admit;  so  what 
snickers  there  are  in  this  film  will  be  derived  from  the  amusing 
Miss  Greenwood's  inimitable  antics.  Grant  Withers  and  Patsy 
Ruth  Miller  'play  straight'  and  it's  quite  a  strain.  The  only 
innovation  in  "So  Long  Letty"  are  some  new  songs,  which  may 
or  may  not  make  up   for  your  evening. 


88 


SCREENLAND 


REVUETTES  of 


Cameo  Kirby 

When  in  doubt,  do  "Cameo  Kirby."  This  is  the 
third  screening  of  the  good  old  play,  though  the  first 
audible  version.  Dustin  Farnum  starred  in  it  in 
1915.  John  Gilbert  did  it  some  years  later  for  Fox. 
Now  J.  Harold  Murray  speaks  and  sings  the  colorful 
role  of  the  Mississippi  river  gambler  to  good  effect. 
Old  man  plot  just  keeps  rollin'  along,  in  the  serene 
manner  of  the  old  south,  which  may  seem  a  little 
slow  to  you  youngsters.  J.  Harold  is  convincing  not 
only  vocally  but  romantically.  He's  a  Cameo  Kirby 
you  can  believe  in,  even  when  he  holds  everything 
to  burst  into  a  love  song.  The  outstanding  musical 
number  is  entitled  Romance,  and  not  bad.  Norma 
Terris  is  the  girl.  Stepin  Fetchit  is  also  present, 
singing  a  ditty  called  Peaceful  Man.  Stepin  is  either 
awfully  peaceful  or  just  plain  lazy. 


Second  Wife 

Just  another  case  of  good  actors  struggling  with  mediocre 
material.  Conrad  Nagel  and  Lila  Lee  do  ther  best  in  their 
respective  roles  of  Walter  and  Florence,  but  nobody  seems  to 
care.  We  like  Conrad  and  Lila  but  Walter  and  Florence  are 
just  a  pair  of  sillies.  Lila  reveals  a  very  pretty  singing  voice, 
besides  looking  even  lovelier  than  usual. 


Let's  Go  Places 

All  right,  let's.  Who  wouldn't  like  to  go  places  with  Dixie 
Lee,  Lola  Lane,  Joseph  Wagstaff,  and  Ilka  Chase?  All  about 
two  youngsters  who  crash  Hollywood  and  eventually  make  good, 
with  amusing  interruptions  of  songs,  dances,  and  (sometimes) 
funny  sayings.  If  you  don't  like  Ilka  you'll  like  Dixie;  and  if 
you  don't  like  Dixie — but  don't  be  silly! 


Undertow 

All  the  tried  and  true  ingredients,  including  very  blonde 
heroine,  very  black  villain,  very  virtuous  hero,  and  the  child, 
can't  put  "Undertow"  over.  Johnny  Mack  Brown,  Alabama 
accent  and  all,  plays  a  light-house  keeper  who  marries  the  fair 
Mary  Nolan,  though  the  villain  still  pursues  her.  Johnny  is 
pretty  convincing;   Mary  is — just  pretty. 


Troopers  Three 

A  nice  little  picture  about  three  actors — now,  now,  wait  a 
minute;  this  isn't  another  back-stage  yarn;  don't  walk  out  on 
us  yet.  These  three  actors  join  the  army  to  eat  regularly;  and 
one  of  them,  played  by  Rex  Lease,  falls  in  love  with  Dorothy 
Gulliver;  while  the  other  two,  Roscoe  Karns  and  Slim  Summer- 
ville,  your  old  friend,  supply  the  comedy. 


for    May  1930 

OTHER 


Chasing  Rainbows 

Chasing  that  elusive  "Broadway  Melody,"  they 
mean.  My,  my,  what  havoc  that  innocent  hit  picture 
caused.  Just  a  deluge  of  imitations;  but  most  of 
them  far,  far  behind.  They've  tried  everything,  even 
co-starring  Bessie  Love  and  Charles  King  all  over 
again;  but  there  is  only  one  "Broadway  Melody"  and 
"Chasing  Rainbows"  proves  it.  We  meet  again  that 
game  little  trouper  (cheers)  who  sticks  to  her  naughty 
partner  through  it  all.  We  have  another  scene  of 
hysterics  by  Miss  Love — just  as  good  in  its  way  as 
the  famous  bit  in  "Broadway  Melody"  but,  after  all, 
a  second  run.  Charles  King  sings  capably;  Bessie 
does  a  nice  tap  dance;  Jack  Benny  is  amusing;  but 
guess  who  save  the  show?  None  other  than  those 
grand  girls  and  .inveterate  picture-stealers,  Marie 
Dressier  and  Polly  Moran! 


PICTURES 


Burning  Up 

Any  picture  starring  Richard — Dick  to  you — Arlen,  with  Mary 
Brian  as  vis  a  vis — trick  for  heroine — is  all  right  with  us.  Dick 
has  had  bigger  and  better  roles  but  he  is  excellent  as  the  racing 
driver  who  is  driving  to  win — the  race  and  the  girl — despite 
crooked  efforts  to  stop  him.  The  story  may  be  old,  but  the  co- 
stars  are  young  and  snappy. 


Slightly  Scarlet 

Goody,  goody!  Here  are  Clive  Brook  and  Evelyn  Brent 
playing  together  again.  They  meet  on  the  Riviera  and  there's 
a  moonlight  love  scene  and — oh,  the  pearls;  almost  forgot  the 
pearls,  without  which  there  would  have  been  no  plot  and  no 
picture.  But  what  do  mere  baubles  matter  when  the  elegant 
Evelyn  and  beau  Brook  meet  again?    Ah,  what? 


Loose  Ankles 

Lovely,  demure  Loretta  Young  and  the  poetic  Douglas  Fair- 
banks, Jr.  are  out  of  place  in  this  farce.  Not  their  fault,  nor 
the  story's;  they  just  aren't  made  for  each  other.  The  comedy 
required  flippant  interpretation,  while  the  young  stars  are  of 
classic  calibre.  Inez  Courtney  from  Broadway,  supplies  pert 
vocal  talent  in   the  proper  places. 


Officer  O'Brien 

With  William  Boyd,  Ernest  Torrence,  Dorothy  Sebastian  in 
the  leading  roles,  any  film  is  sure-fire,  especially  when  it's  a 
crook  melodrama.  Nothing  original  about  this  gangster  plot 
but  Tay  Garnett's  direction  is  fresh  and  the  performers  are 
splendid.  Torrence  and  Boyd  are  two  he-men  who  have  their 
audience  right  with  them  all  the  way. 


SCREENLAND 


Above:  Helen  Kane,  back  East  to 
work  in  "Dangerous  Nan  McGrew." 
Welcome  home,  Helen, 


Right:  Norman  Foster,  the  "Young 
Man  of  Manhattan"  and  husband 
of  Claudette  Colbert,  the  star. 

Below:  Jillian  Sand  from  London, 
and  her  dog,  Christopher  Colum- 
bus, discover  America. 


A  T  midnight,  a  few  weeks  ago,  Constance  Bennett 
/  \      stepped  off  the  steamer  Bremen,  fresh  from  Paris, 
/    \    with  a  divorce  decree  from  Philip  Plant  in  one 
hand,  and  a  new  movie  contract  in  the  other. 
Constance  also  brought  over  with  her  one  secretary,  one 
maid,  two  gramophones,  five  boxes  of  gramophone  records, 
twenty-five  trunks  and — one  baby,  aged  twelve  months. 

No,  Constance  hasn't  been  holding  out  on  us  —  the 
baby's  not  hers.  His  real  name  is  Dennis  Armstrong  and 
his  real  mother  lives  in  London.  But  Constance,  the  orchid 
of  the  screen,  the  last  star  you  would  think  of  as  cherish- 


IN  NEW 

When  West  Meets 
East  on  Broadway 


ing  maternal  instincts,  is  going  to  adopt 
this  baby  as  soon  as  she  can  unwind 
some  of  the  immigration  red  tape  which 
at  present  only  allows  little  Dennis  to 

remain  in  this  country  a  scant  six  months. 

*      *  * 

"J  call  him  Christopher  Columbus  because  he  dis- 
covered me!11 

Speaker — Jillian  Sand.  The  new  Fox  talkie  actress  just 
brought  over  from  London  to  play  in  Beatrice  Lillie's 
musical  picture.    She  was  speaking  of  her  Pekingese. 

The  Peke  lay  curled  up  in  Jillian's  lap  as  she  sat  in  a 
big  chair  in  front  of  a  sunny  window  at  her  suite  in 
the  Hotel  Warwick. 

"I  never  liked  little  dogs,"  Jillian  continued,  "but  one 
day  in  London,  I  went  into  an  animal  shop  just  to  have 
a  look  around.  This  little  fellow  followed  me  all  over 
the  place.  When  I  started  out,  he  was  at  my  heels,  so 
I  had  to  buy  him.'" 

To  describe  Miss  Sand  is  extremely  difficult.  She  is 
British  to  the  core  but  sprinkled  all  over  with  a  fine  Gallic 
coating,  perhaps  due  to  the  fact  that  she  polished  off  her 
education  in  Paris. 

Jillian  will  either  be  another  great  dramatic  actress  like 
Garbo  or  she  will  be  a  complete  washout.  There  are  no 
half-way  measures  in  the  girl.  She  isn't  pretty  exactly, 
but  she  is  one  of  the  most  individual,  original  movie  players 
I've  ever  seen. 

She  was  playing  in  an  English  picture,  "To  What  Red 
Hell"  with  Sybil  Thorndyke,  when  Joe  Pincus,  Fox's 
English  representative,  let  it  be  known  that  he  was  calling 
for  volunteers  for  a  talkie  test. 

"I  wandered  over,  but  there  were  simply  scads  of  girls," 


Fairchikl  Aerial  Surveys  Inc.,  N.   Y.  C. 

YORK 

By  Anne  Bye 


Jillian  said.     "I  didn't  think  I  had  a 
chance  but  I  took  the  test.    Put  on  a 
simple  little  sketch,  part  comedy,  part 
tragedy.    It  was  a  rather  subtle  bit  in 
which  I  didn't  tear  my  hair  out  or  rock 
with  laughter.    When  I  finished,  they  took  my  name  and 
address,  and  I  thought,  'that's  that,'  and  went  for  a  holi- 
day in  the  south  of  France.  When  I  returned,  I  was  offered 
a  contract  and  here  I  am." 

Jillian  never  wears  a  hat,  hates  to  be  called  Jill,  has 
lovely  manners,  likes  cigarettes  and  parties,  reads  a  lot,  and 
never  travels  without  the  inevitable  phonograph.  She's 
extremely  popular  here  already.  Men  call  her  up,  it  seems, 
nearly  every  five  minutes.  She  has  blue  eyes,  old  gold 
hair,  and  thinks  the  greatest  thing  in  acting  is  mobility. 
"Feeling  must  play  over  a  screen  actress'  face  like  clouds 
float  over  the  sky.  That's  why  Greta  Garbo  is  great." 

Miss  Sand  is  a  personality.    And  if  Fox  tries  to  whittle 

her  down  into  an  average  ingenue,  it'll  be  just  too  bad 

for  Jillian — and  for  Fox.    For  the  girl  has  the  makings 

of  something  verging  on  real  dramatic  talent. 

*      *  * 

Helen  Kane  is  one  of  the  swellest  screen  stars  I've  ever 
met.  She  reminds  me  of  a  robin;  she's  pretty  and  plump 
and  good  natured,  with  a  round  little  face,  round  little 
hands,  and  beautiful  thin  sleek  hips  and  legs. 

She's  over  at  the  Paramount  studio  on  Long  Island 
making  "Dangerous  Nan  McGrew."  She  wears  a  cow 
girl  outfit  of  brown  chamois,  with  a  fringed  skirt,  big  silk 
bandanna  handkerchief  around  her  neck,  a  ten  gallon  hat, 
and  high  laced  boots. 

Helen's  natural,  homey,  business-like.  Her  speaking 
voice  is  exactly  like  her  'boop-a-doop'  singing  voice. 


Above:  Louise  Dresser  was  wel- 
comed  by   old  friends   when  she 
came  East  for  a  visit. 

Left:  Stuart  Erwin,  the  new  laugh 
man    of    the   talkies.  Remember 
him  in  "Sweetie?"  Of  course! 


Above:   Constance  Bennett,  fresh 
from  Paris  with  a  quarter  million 
dollars'  worth  of  clothes, 


"I  don't  know  who  started  this  baby  way  of  singing," 
Helen  said.  "I  was  the  first  one  I  ever  heard  but  tlrere" 
may  have  been  others  around.  However,  I  think  one 
reason  my  stuff  has  gone  over  is  because  my  singing  voice 
is  my  natural  voice.  And  when  you  say  sophisticated 
things  in  a  high,  innocent,  natural  voice — why,  people  are 
bound  to  laugh.    It's  such  a  contrast. 

"When  I  first  went  to  Hollywood,  I  was  terribly  lone- 
some. My  sister  and  her  little  five-year-old  boy  went  with 
me.  We  all  felt  strange.  Even  the  child  when  he  went 
out  to  play  came  home  and         (Continued  on  page  118  > 


92  SCREENLA  N  D 

Gome  into  the  Kitchen 


In    the   evening   when    the    servants    are  gone, 
Lucile  and  Jimmy  Gleason  repair  to  the  kitchen 
and  have  a  doughnut  party  for  two. 


hen  you  go  into  the  kitchen  with  Lucile 
Gleason  you  always  come  out  with  a  sheaf 
of  delicious  new  cooking  recipes  and  a  con' 
viction  that  domesticity  may  be  glorified 
equally  with  a  career.  Mrs.  Gleason  has  succeeded  in 
doing  just  this  thing. 

As  the  wife  of  James  Gleason,  Lucile  is  rated  as  one 
of  the  most  capable  home  makers  in  Hollywood.  During 
the  more  than  twenty  years  since  she  and  James  Gleason 
won  their  parents'  consent  to  marry  before  either  was  of 
age.  Mrs.  Gleason  has  been  actively  engaged  in  house- 
hold activities.  At  the  same  time,  she  developed  a  stage 
career  that  promises  to  have  an  equally  brilliant  parallel 
on  the  screen. 

"When  I  went  to  school  at  Polytechnic  in  Pasadena,  I 
specialized  in  domestic  courses,"  said  Lucile.  "It  inter- 
ested me  and,  besides,  my  mother  believed  that  every  girl 
should  know  how  to  manage  her  own  home  competently. 
Neither  of  us  dreamed  then  that  my  home  for  years  would 
be  hotels  and  Pullman  trains!  I  think  this  is  the  reason 
that  this  home  of  ours  in  Hollywood  is  such  a  precious 
thing  to  Jim  and  Russell  and  me.  We  waited  so  long 
for  it." 

Mrs.  Gleason  is  not  a  'kitchen  dabbler.' 

When  she  pushes  open  the  swinging  door  into  her  big 
white  tiled  kitchens — there  are  two  of  them — she  does  so 
with  the  firm  step  of  one  who  knows  how  many  table- 


Not  Only  is  Lucile 
Gleason  a  Famous 
Cook  but  Jimmy  is  a 
Seasoned  Chef,  Too 


"Deep-fat  frying  is  an  art,"  warns  Lucile,  "the 
temperature   must  be  'just   so.' "    "I  know  it," 
says  Jimmy.   "I've  made  doughnuts  before." 


fr   ^ 

JIMMY  GLEASON'S  DOUGHNUTS 

Beat  four  eggs  and  one  and  one-half  cups  of  sugar 
together  for  five  minutes.  Add  four  tablespoons  melted 
butter  or  substitute,  one  cup  sour  milk,  one-half  teaspoon 
salt,  one  teaspoon  powdered  nutmeg  and  mix  well.  Add 
sufficient  flour  sifted  with  one  teaspoon  baking  powder 
to  make  a  stickish  dough.  Set  dough  in  a  cold  place 
over  night.  In  the  morning,  set  in  a  warm  place  for  two 
minutes.  Roll  on  a  floured  board  and  cut  with  a 
doughnut  cutter.  Fry  in  deep  smoking  fat.  Let  drain 
on  brown  paper  and  roll  in  powdered  sugar. 

Ik  V 


for     May     1  9  3  0  93 

with  Lucile  Gleason 


By 


Valentine 


The  finished  product.    How  we  would  like  to  get 
in  on  one  of  these  doughnut  parties!    We  hope 
you  roll  'em  in  sugar,  Jimmy, 


LUCILE  GLEASON'S  HASH 

Buy  four  pounds  of  round  steak  and  have  it  ground. 
Cook  this  in  a  small  amount  of  water  for  ten  minutes. 
Add  eight  medium  sized  potatoes,  diced,  one'half  of  a 
large  pepper,  a  medium  sized  onion,  a  few  stalks  of 
celery,  chopped  fine,  a  bit  of  garlic,  salt  and  pepper  to 
taste.  Make  a  thick  gravy  of  the  water  the  meat  was 
cooked  in  and  add  to  this  mixture.  Stir  well  and  put 
in  a  roaster.  Cover  and  bake  two  hours,  stirring  oc' 
casionally.  A  slow  oven  for  two  hours  is  preferable  to 
shorter  time  and  intense  heat. 


Lucile  Gleason  has  two  big,  white-tiled  kitchens 
and  evidently,  two   cooks.     Such  a   lucky  lady! 
Most  people  can't  keep  even  one. 


spoons  of  this  and  cups  of  that  are  required  for  a  perfect: 
dish  of  something-or-other. 

It  was  the  Gleasons  who  did  hash  a  good  turn — the 
sort  of  a  good  turn  that  has  raised  that  questionable  entree 
to  a  place  where  it  is  now  mentioned  by  our  best  people 
in  drawing  room  gossip! 

"There  is  no  reason  why  hash  should  not  have  a  recog- 
nized place  on  the  menu,"  declared  Mrs.  Gleason  firmly. 
"Yes,  I  know  it  has  always  been  a  dish  open  to  ridicule 
and  jokes.  But  I  knew  I  had  a  recipe  that  would  make 
a  lot  of  people  change  their  minds  about  hash.  When 
Jim  and  I  first  came  to  Hollywood  we  started  giving  hash 
parties.  People  loved  it.  I'll  bet  that  recipe  has  as  wide 
a  circulation  now  as  the  current  Book  of  the  Month 
volume!" 

The  baked  beans  and  brown  oread  suppers  at  which 
the  Gleasons  officiate  are  becoming  as  popular  as  the  hash 
dinners.  Some  one  said  the  other  day  that  to  see  Paul 
Whiteman  enjoying  a  huge  plate  of  Gleason  beans  is  to 
satisfy  one  that  American  jazz  is  on  a  sound  basis. 

Margaret,  the  plump  and  good-natured  cook,  has  been 
with  the  Gleasons  since  they  first  came  to  Hollywood  with 
their  stage  play,  ''Is  Zat  So,"  several  years  ago.  She  and 
Mrs.  Gleason  exchange  new  recipes  regularly  and  go  to 
cooking  school  together  each  week. 

Whenever  Lucile  Gleason  has  a  longing  to  get  out  in 
the  kitchen  among  the  condiments  (Continued  on  page  114) 


94 


SCREENLAND 


Keeping  Fit 


Dorothy  Sebastian 
advocates  correct 
and  intensive 
stretching  and  does 
a  bit  of  it  for 
health  and  beauty. 


Spring,  Gay  Challenge  to  Faces  and  Figures!  These 
Beauty  Recipes  will  Help  You  to  Live  Up  to  the  Season 


hat  is  it  about  spring  that  starts  poets  to 
singing  of  love  and  all  the  rest  of  us  seek' 
ing  restlessly  for  something  new?  The  desire 
to  'stick  a  feather  in  our  cap  and  throw  the 
spade  away1 — an  overwhelming  desire  to  play  hookey,  to 
make  rest  and  change  an  important  part  of  everyday 
living. 

"In  the  spring  a  young  man's  fancy  lightly  turns  to 
thoughts  of  love,"  sang  or  perhaps  we  should  say  emoted, 
a  well-loved,  though  sentimental  poet  long  years  ago. 

Personally,  I  have  always  been  a  bit  uncertain  of  the 
poet's  meaning  concerning  that  word  'lightly.'  Did  he 
mean  that  only  at  this  season  do  men  make  love  lightly?  Or 
did  he  mean  that  everything,  including  love,  is  to  be  taken 
lightly  in  springtime?  I  suppose  he  knew  what  he  meant 
and  being  a  man  knew  that  other  men  would  know.  Any- 
way, ever  since,  men,  young  and  old,  have  been  following 
their  version  of  this  immortal  line. 

After  all,  spring  means  the  same  to  all  of  us  only  in 
a  different  way.  True  to  youth  and  the  poets  the  young 
man  senses  spring;  every  saucy,  scarlet  mouth,  every  pair 
of  pretty  eyes  intrigues  his  fancy.  The  older  man  hears 
spring,  too,  and  looks  up  long  enough  to  sniff  its  fragrance, 
sigh  a  little,  and  wonders  vaguely  if  he  doesn't  need  a 
new  necktie  or  two. 

Mother  at  home,  busy  with  fresh  curtains  and  new 
color  schemes  for  the  bedrooms,  hears  it.  She  wonders 
if  a  pretty  house  is  ever  as  important  and  exciting  as  a 
pretty  woman  and  decides  straightway  to  buy  a  big  jar 
of  that  fragrant  cream  cousin  Molly  had  when  she  came 
to  visit,  a  tiny  pot  of  rouge  like  big  daughter's,  and  yes, 


a  new,  becoming  and  expensive  hat  in  the  very  latest 
mode. 

The  young  girl — close  to  her  heart  is  spring.  She  doesn't 
dream  much  about  it,  but  like  mother,  she  acts.  To 
her,  in  a  very  definite  sense,  spring  means  beauty.  New 
wispy  clothes  with  the  color  and  rhythm  of  spring.  A 
face  fresh  as  April  rain;  eyes  clear  as  May  skies;  a  person- 
ality as  vivid  and  radiant  as  a  daffodil.  That  is  what  every 
girl  wants — in  spring.  And  if  she  doesn't  have  them  she 
goes  right  to  work  to  acquire  them.  That's  the  modern 
girl  for  you! 

The  accumulated  wear  and  tear  of  winter  is  manifest 
in  dull,  sallow  skins,  dry,  lifeless  hair.  Lack  of  exercise, 
indulgence  in  rich  heavy  foods  and  general  inactivity  show 
in  figures  that  bulge-where-they-shouldn't  or  have  taken 
on  unnecessary  weight.  Back  of  us  is  winter  with  its 
sparkle  and  busyness.  Ahead  is  summer  with  its  sports 
and  relaxation.  How  to  attain  the  lovely  skin  and  sprightly 
body  that  goes  with  the  season — ah,  that  is  the  question! 

Well,  first  the  skin,  hair  and  body  must  come  alive. 
It's  a  bit  hard  in  this  changing  season  to  keep  fresh  and 
bright  looking;  but  if  you  find  yourself  on  a  sunny  spring 
day  a  bit  sallow  and  sagging  and  unbeautifully  revealed, 
don't  be  discouraged,  girls;  take  your  time  and  don't  worry. 
There's  one  blessed  thing  about  Nature.  She  doesn't  leap 
from  one  season  to  another,  but  gives,  always,  a  lovely 
interlude  in  which  we  may  adjust  ourselves  beautifully  to 
the  change. 

If  your  skin  is  very  dry  as  many  skins  are  in  spring, 
give  it  plenty  of  oil.  At  this  season  it  is  well  to  lay 
aside  heavy  creams  and  use  warm  facial  oil  for  both  cleans- 
ing and  nourishing  the  skin.    It's  delightfully  restful  and 


Anita  Page  has  the  dainty, 
pastel   coloring   that  goes 
with  spring. 


One  of  our  most  interest- 
ing and  charming  new  girls 
— Kay  Johnson. 


Colleen  Moore  with  eyes 
of    spring  —  bright,  clear 
and  shining. 


Dorothy  Sebastian.  Mark 
the  dazzling  beauty  of  her 
perfect  teeth. 


for     May     19  30 


9? 


Beautifully 


By  Anne  Van  Alstyne 


Don't  be  in  a  hurry 
to  jump  out  of  bed 
in  the  morning, 
says  Dorothy. 
Stretching  brings 
you  alive. 


scathing  to  dry,  tired  skins  and  is  much  favored 
now  particularly  for  spring  and  summer  use. 
Dip  your  fingers  in  the  smooth  oil  and  smooth 
it  all  over  your  face  and  neck.  Whenever  you 
can,  use  this  at  night  and  leave  it  on  all  night. 
Put  on  a  bathing  cap  or  pin  a  small  towel 
around  the  head  to  protect  the  hair.  When  you 
have  covered  the  face  with  oil  rub  some  over  the 
hands  and  in  the  nails  and  a  bit  into  the  elbows. 
Hands  and  arms  need  attention,  too,  in  spring. 

If  your  skin  is  dull  and  sallow,  use  a  bleach. 
Don't  use  a  heavy  bleach  and  if  the  skin  is  very 
tender,  use  a  cream  or  oil  before  and  after  the 
bleach.  Or  use  a  circulation  cream  or  lotion 
which  is  both  stimulating  and  bleaching  in  effect. 
Use  this  about  three  times  a  week.  Apply 
cream  or  oil  first  and  if  the  skin  is  tender  it 
may  be  well  to  mix  the  ointment  with  cold 
cream.  Be  very  careful  not  to  use  this  where 
veins  are  close  to  the  skin,  but  apply  it  to  the 
throat  and  chin,  around  the  mouth  and  along 
the  jaws  up  to  the  ears  and  over  the  forehead. 
Don't  let  it  get  close  to  the  eyes.  Leave  on  until 
the  skin  is  softly  glowing,  wipe  off  with  cleans- 
ing tissues  and  apply  a  soothing  cream.  Leave 
on  ten  minutes  and  take  off  with  skin  tonic. 
This  treatment  should  be  given  at  least  an  hour 
before  going  out  as  it  is  likely  to  sting  a  bit 
and  to  make  the  skin  red.  But  when  it  is  over, 
your  skin  will  have  a  warm  natural  glow  and 
will  be  thoroughly  alive. 

Going  back  to  facial  oils,  girls  with  oily  skins 


may  use  them,  too,  but  should  use  an  astringent 
afterward.  Don't  get  the  idea  that  you  can't 
use  creams  and  oils  because  they  cause  blackheads. 
If  you  use  them  properly  and  take  them  off 
properly  you  will  have  no  trouble.  Wipe  off  the 
cream  or  oil  with  absorbent  cotton  pads,  dipped 
in  hot  water.  Dry  and  pat  a  few  moments  with 
tonic  or  astringent. 

Oily  skins,  and  dry,  too,  occasionally — can 
always  use  bland  soap  and  water  at  night  with 
a  cold  rinse  afterward.  But  in  spring  no  one 
should  wash  and  then  go  out  in  the  drying  winds 
this  season  specializes  in  so  ruthlessly. 

If  the  hair  is  dry  and  lusterless,  give  it  a 
series  of  treatments  at  a  good  salon  where  they 
give  a  good  scalp  massage  and  have  a  few  oil 
treatments.  If  you  can't  do  this,  take  a  little 
time  off  from  pleasure  or  business  and  give  them 
at  home.  It's  more  trouble,  of  course,  but  it 
can  be  done.  And  give  your  hair  a  rest  from 
curling  irons,  marcels  and  'permanents'  until  it 
comes  back  to  normal.  Cultivate  a  plain  coif- 
fure for  a  month  or  two;  it  will  be  good  for 
your  hair  and  when  summer  comes  your  hair  will 
be  in  condition  for  the  permanent  wave  so  many 
of  you  look  upon  as  necessary  to  happiness  and 
peace  of  mind  during  the  summer  months. 

Eyes   of   spring   should  be 
Out  of  bed,  wide       lovely,   too,  bright,   clear  and 
awake  now  stretch        shinixig.     Don't  think  that  be 
— and  stretch  again  °  ,  , 

on  your  toes  to  the  cause  y°ur  eYes  are  tired  and 
very  ceiling.   Good  (Continued  on  page  106) 

work,  Dot! 


Lillian   Roth,  comedienne, 
is  as  pretty  as  she  is  funny. 
Enough  said! 


Thelma  Todd,  one  of  the 
few   girls    who   can  show 
her  ears  becomingly. 


Louise  F  a  zenda,  loved 
comedienne  and   a  smart, 
well-groomed  woman. 


Dixie  Lee,  one  very  good 
reason  why  poets  sing  of 
love— in  spring. 


96 


SCREENLAND 


e?TAGE 


Looking  Over  the  Broadway  Plays 
Before  They   Reach  the  Screen 


"The  Apple  Cart" 

The  Theatre 
Guild  produced 
the  far-famed 
latest  play  of 
George  Bernard  Shaw 
called  'The  Apple 
Cart."  It  is  the  first 
Guild  production  of  a 
new  Shaw  play  since 
his  "Joan  of  Arc," 
some  years  ago. 

'The  Apple  Cart" 
is  the  name  given  to 
the  British  Empire  and 
the    attempt    of  the 


Right:  Katherine  Cor- 
nell and  Fort  unto 
B  onanov  a.  As  the 
"Dishonored  Lad  y," 
Miss  Cornell  does 
very  fine  work. 


"June  Moon"  is  a  Lardner  and  Kaufman  crea- 
tion, with  Linda  Watkins  and  Harry  Rosenthal. 


Prime  Minister  and  the  Cabinet  to  upset  and  nullify  the 
last  few  prerogatives  of  King  Magnus.  The  time  is  about 
1990,  and  the  first  act  is  laid  in  the  Royal  Palace.  This 
act,  which  occupies  over  an  hour,  is  totally  devoid  of 
action  and  is  occupied  in  a  discussion  between  the  King 


Above:  George  MacQuarrie,  Corinne  Ross,  Donald 
from  "Rebound."    Hope  Williams,  a  talented 


(played  suavely  by  Tom  Powers)  and  his  Cab- 
inet  Ministers,   dressed  in   grotesque    (to  us) 
costumes  of  that  period,  as  to  whether  or  not  he  should 
give  up  the  right  of  veto  and  other  small  privileges. 

The  second  act  is  a  scene  between  King  Magnus  and  his 
mistress  (played  by  Violet  Kemble  Cooper  with  vivacity) 
in  which  the  lady  tries  her  best  to  seduce  Magnus,  with 
the  result  that  they  both  roll  around  the  floor  struggling 
and  laughing  like  big  kids. 

The  third  act  is  laid  on  the  terrace  of  the  Palace,  where 
the  King  is  going  to  give  his  ultimatum  to  the  Cabinet, 
or,  rather,  where  he  will  receive  theirs — sign  on  the  dotted 
line  or  a  revolution.  The  King  offers  to  abdicate  in  favor 
of  the  Prince  of  Wales,  but  the  Prime  Minister  (played 
in  a  fiery  manner  by  Claude  Rains)  will  have  none  of  that. 
The  King  wins;  but  before  he  wins  the  American  Ambas- 
sador (played  strenuously  and  laboriously  by  Frederick 
Truesdale)  bursts  in  and  says  we  Americans  have  torn  up 
the  Declaration  of  Independence  and  have  voted  to  go 
back  into  the  British  Empire.  The  King  says  no  to  this, 
also. 

The  play  ends  with  the  King  and  Queen  (played 
naturally  by  Marjorie  Marquis)  in  one  another's  arms,  with 
both  the  Cabinet  and  the  American  Ambassador  beaten. 
Ernest  Cossart,  Helen  Westley  and  others  of  the  Guild 
players  appear  in  this  play. 

"Dishonored  Lady" 

It  was  not  a  play  that  I  saw  called  "Dishonored  Lady," 
by  Margaret  Ayres  Barnes  and  Edward  Sheldon,  which 
Gilbert  Miller  and  Guthrie  McClintic  produced  at  the 
Empire  Theatre.  What  I  saw  was  the  gorgeous  and  exotic 
Katherine  Cornell. 

It  is  La  Cornell  that  will  fill  your  eye,  fill  your  ear, 


May     2  9  3  0 


97 


/';/  ^VIEW 


Ogden  Stewart  and  Hope  Williams  in  a  scene 
and  beautiful  young  woman,  is  the  whole  show. 


fill  your  brain,  tickle  your  nerves,  move  your  blood 
and  fill  you  with  a  strange  and  heady  intoxicant 
and  a  perfume  blown  to  you  from  a  South  Sea  island 
not  on  any  map. 

Katherine  Cornell  has  every  requisite  for  the  making 
of  a  great  actress:  voice,  movement,  facial  flexibility,  in- 
telligence and  tragic  beauty.  She  is  both  antique  and 
modern,  classic  and  romantic,  Aeschylean  and  Ibsenish — 
above  all,  the  eternal  Serpent  of  Sin. 

The  play  is  melodramatic  rubbish,  about  as  old  a  piece 
of  hack-and-saw  work  as  ever  got  catapulted  out  of  its 
pre-McKinly  tomb.  In  fife  woids  I  tell  it  you : 
a  girl  kills  her  lover  who  is  about  to  expose 
her  on  the  eve  of  her  marriage  to  a.  British 
millionaire  socialist.  She  is  acquitted  because 
all  her  friends  commit  perjury.  You  will 
see  it,  hear  it  and  smell  it  later  on. 

But  forget  the  play.  Go  to  see  Katherine 
Cornell  if  you  like  fine  acting  by  a  fascinat- 
ing woman. 

"Rebound" 

''Rebound"  is  a  play  on  a  brand-new 
theme,  the  sex-relation  in  marriage  and  the 
ensuing  triangle.  You  would  think  after 
seeing  these  interminable  discussions  on  the 
stage  of  modern  sex-piggery  and  libido- 
swinery  that  they  were  something  that  had 
just  been  discovered  by  the  author.  But 
there  is  never  anything  new  in  them.  Same 
old  speeches,  same  old  situations,  same  old 
lounge  embraces  and  the  same  old  "By  God, 
Madeline,  I'm  not  blind!" 

Donald  Ogden  Stewart  hath  done  this 


By  Benjamin  De  Casseres 


latest  piece  of  fancy, 
high-toned  brie-  a 'brae 
in  which  two  couples 
go  through  the  usual 
hunting  the  It  troubles 
accompanied  by  a  run 
of  Winchellings  and 
nifties  when  the  'plot1 
gets  thin  and  the 
'theme'  gets  choked 
with  static. 

But  there  is  Hope! — 
I  mean  Hope  Williams, 
who  is  the  whole  show. 
This  talented  young 
woman  can  put  over 
the  most  enormous 
cynicisms  with  an  air 
of  an  old  lady  reading 
the  Bible.  Her  swag- 
ger is  a  form  of  act- 
ing—  and  conveys  an 
earful. 

In    "Rebound"  she 
plays   a   kind   of  de- 
serted wife  who  gets 
her  sap  back  at  last; 
but   no   matter  about 
this  —  Hope  Williams 
is  an  artist,  odd,  curious,  with  a  head  like  some  beautiful 
strange  bird.     (If  I  can  no  longer  enjoy  the  plays,  I  can 
at  least  rave  over  our  actresses.) 

"June  Moon" 

When  I  heard  that  the  hardest-boiled  dramatic  critics 
in  New  York  had  laughed  from     (Continued  on  page  110) 


Maurice  Muscovitch,  a  newcomer 
to  the  Ameriacn  stage,  plays  "Josef 
Suss"  with  eloquence  and  dignity. 


Helen  Westley,  George  Graham,  Rex  O'Malley,  Tom  Powers, 
Thomas  A.  Braidon  and  William  H.  Sams  in  George  Bernard 
Shaw's  latest  play,  "The  Apple  Cart." 


9S 


S GREENLAND 


No,  this  is  not  a  circus  or  any  part 
of  it.  It's  Dorothy  Sebastian  walk- 
ing a  tight  rope  over  Hollywood 
to  see  what  she  can  see  and  hear 
what  she  can  hear. 


All  the  News  from  the 
West  Coast  Studios 


A  n  executive  wanted  Jim  Tully  to  write  the 

/  \      dialogue  for  a  picture.    A  member  of 

/    \     his  staff  was  doubtful;  "Jim's  pretty 

caustic,  you  know,"  he  replied.  "I 

don't  care  what  it  costs — get  him  anyway!" 

snapped  the  executive. 

*  *  * 

Warner  Brothers  gave  the  Calvin  Coolidges 
a  decent  break  on  the  day  they  'did'  Hollywood. 
They  let  the  newspapers  get  what  they  wanted 
and  then  turned  everyone  out  so  the  distin- 
guished guests  might  have  an  opportunity  to  see 
how  pictures  were  made  just  as  anyone  on  the 
set  every  day  is  accustomed  to  see  them.  They 
remained  for  about  two  hours  escorted  by  Will 
Hays  and  Mary  Pickford  also  was  with  them 
all  day. 

After  the  Coolidges  had  met  Alexander  Gray 
and  Vivienne  Segal  who  were  playing  in  the 
scene  from  "Viennese  Nights"  that  they  had  been 
watching,  they  were  introduced  to  Jean  Hersholt, 
Bert  Roach,  Dick  Winslow  and  Norwood  Pen- 
Zer,  the  last  two  being  children.  Then  they 
asked  to  meet  Louise  Fasenda  whose  work  they 
both  admire,  and  fortunately  she  happened  to 
be  working  on  the  lot. 

At  United  Artists  they  were  entertained  by 
Mary  Pickford  and  Douglas  Fairbanks,  having 
luncheon  in  Mary's  bungalow  dressing-room. 
They  were  treated  as  friends,  not  celebrities.  No 
photographs  were  taken  and  the  ex-president 
and  his  wife  were  allowed  to  get  what  enjoy- 
ment the  lot  afforded  without  being  molested. 
It  was  extraordinary  how  many  people  having 


entree  to  the  studio  had  business  there  that  day!  But 
they  behaved  themselves.  After  a  ride  through  Fox  Hills 
the  party  wound  up  at  Metro-Goldwyn-Mayer  where  a 
number  of  photographs  were  taken  and  where  a  crowd 
followed  them  about  from  place  to  place. 

ril  bet  they  were  ready  for  bed  that  night  because  they 
had  been  guests  of  the  Breakfast  Club  and  that  ham  and 
egg  breakfast  is  served  at  eight  sharp.  Mme.  Schumann- 
Heink  sang  two  songs  and  when  she  arose  Mrs.  Coolidge 
also  arose,  went  over  to  the  smiling,  white-haired  singer 
and  kissed  her.  The  Duncan  Sisters  did  their  burlesque 
of  "Rigoletto,"  George  Olsen's  Band  offering  the  accom' 
paniment. 

On  their  way  from  home  that  morning  the  girls  had 
made  up  a  new  verse  fitting  the  occasion  to  the  tune  of 
their  own  Rememh'ring.    It  ran: 

Dear  Mr.  Coolidge,  we  like  to  do  our  parts, 

We'll  cherish  this  early  morning,  forever  in  our  hearts; 

Remember  Calvin  Coolidge,  the  long  ages  through, 

We'd  get  up  every  morning  to  eat  ham  and  eggs  with  you! 

Corinne  Griffith  has  three  ambitions.  One  is  to  own 
a  chateau  within  five  hours  of  Paris;  the  second  is  to  play 
the  Empress  Josephine,  and  the  third  is  to  win  a  set  of 
tennis! 

Gary  Cooper  is  learning  to  play  the  banjo  and  Lupe 
Velc^  is  brushing  up  on  the  art.  An  instructor,  a  native 
of  Mexico  who  can  speak  no  English,  comes  to  Lupe's 
house  three  evenings  a  week  to  give  them  both  lessons.  On 
one  of  these  evenings'  Gary  arrived  dead  tired  from  the 
studio  and  said  he  had  almost  gone  home  and  not  appeared 
at  all.  "You  lie  down,  darling,"  Lupe  said,  "and  get  a 
little  nap  before  you  take  your  lesson."    And  after  dinner 


for     May     19  30 


Dorothy  Sebastian  with  the  movie 
world  at  her  feet  makes  the  most 
of  this  grand  vantage  point  to  ob- 
serve what's  going  on  and  toss  us 
the  most  important  news. 


HoHvwooc 


Latest  Gossip  about 
Plays  and  Players 


Gary  stretched  out  On  the  sofa  while  the  musician  played 
on  the  banjo  and  Lupe  with  two  or  three  guests  played 
bridge.  The  first  thing  any  of  them  knew  it  was  twelve 
o'clock.     Gary  was  still  asleep;  the  poor  musician  was 

still  playing!  Everyone  decided  it  was  time  to  call  it  a  day. 

^  %  * 

Hollywood  isn't  what  it  was,  my  dear.  Here's  Richard 
Dix  and  Lois  Wilson  just  finished  playing  together  in  "I 
Love  You,"  and  not  one  buzz  about  linking  them  up  with 
the  title. 

*  *  * 

Porter  Emerson  Browne  and  J.  Warner  Bellah  have 
been  signed  by  Doug  Fairbanks  to  work  on  his  next  pic- 
ture in  collaboration  with  Lotta  Woods  who  has  adapted 
every  Fairbanks  story,  with  the  exception  of  "Taming  of 
the  Shrew,"  since  "The  Mark  of  Zorro."  Doug's  next, 
according  to  present  plans,  will  be  a  talking  version  of 
"The  Mark  of  Zorro,"  but  by  the  time  those  four  have 
finished  with  it  you  won't  know  the  old  yarn.  The  ability 
of  Porter  Browne  in  the  way  of  dialogue  and  dramatic 
situation  is  an  old  story  to  the  New  York  stage.  "A 
Fool  There  Was"  is  an  early  effort  and  "The  Bad  Man," 
his  last,  has  been  sold  to  Warner  Brothers  for  enough  to 
keep  its  author  in  luxury  for  the  rest  of  his  life.  J.  War- 
ner Bellah  has  been  plastered  all  over  The  Saturday  Eve- 
ning Post  for  several  years.  And  as  for  Mr.  Fairbanks — 
well,  this  is  how  they  work. 

Porter  and  Jay  have  taken  a  'single'  in  one  of  Holly- 
wood's smart  apartment  hotels  where  they  get  service  and 
everything  included  in  the  rent.  One  wakes  up,  oh,  along 
about  six  in  the  morning  and  says  to  the  other,  "Hey,  out 
of  it!" 

"What's  on  your  mind?"  yawns  the  other. 
"How's  this — ?"  and  he  elucidates. 


"Rotten,"  says  the  other.    "But  that  gives  me 
an  idea — how's  this?" 
"Terrible!" 

"Oh,  is  that  so?    Well,  what  about  this?" 

And  they're  off.     For  breakfast  they  go  to  a 

little  ham  and  egg  joint  around  the  corner. 

Their  'phone  is  shut  off  to  all  the  world  except 

the  Fairbanks  Studio.    Doug  will  call:  "How 

would  it  be  if — ?"  starts  Doug.  "Well,  come  on 

over  and  let's  talk  this  out."    Doug  has  a  whale 

of  an  idea,  Jay  told  us.    The  hokum  is  to  be 

practically  eliminated,  which  is  good  news.  The 

comedy  is  to  be  honest  comedy,  not  forced. 
^  ❖  * 

Dolores  Del  Rio  thought  she  was  all  through 
with  "The  Bad  One'"  and  was  dating  herself  up 
for  a  few  informal  dinners.  What  was  her  sur- 
prise and  embarrassment  to  have  a  messenger 
arrive  from  the  studio  just  as  she  was  seating 
her  guests,  with  a  note  from  her  director,  George 
Fitzmaurice.  "Dear  Chequita,"  it  read:  "Please 
be  a  good  girl,  stay  at  home  this  evening  and 
learn  the  enclosed  few  lines.  Be  at  the  studio 
at  the  usual  time  in  the  morning  for  this  retake." 
The  'enclosed  few  lines'  covered  seven  double 
spaced  type-written  pages. 

"What  could  I  do?"  asked  Dolores.  "We  had 
planned  to  have  a  picture  shown  afterwards  in 
my  living  room.  I  had  to  excuse  myself — it  was 
a  funny  thing  to  do  but  you  must  expect  any- 
thing in  pictures." 

Joseph  Cawthorne,  famous  stage  comedian,  en- 
tertained John  Barrymore  at  dinner  and  gave 


100 


SCREENLAND 


him  a  drink!    And  what's  more  it  was  served 

in  a  bucket!   Yes  sir,  and  the  bucket  was  dipped 

from  a  well  of — oh,  darn  it  all!    What's  the 

use?  This  story  started  out  so  swell,  and  why 

is  it  all  good  stories  have  to  be  hampered  just 

because  conscience  steps  up  and  demands  that 

you  out  with  the  truth.    Well,  here  it  is.  It 

was  an  old  oaken  bucket  Jack  drank  from,  and 

the  draught  it  held  was  pure  spring  water 

dipped  from  a  well  on  the  Cawthorne  estate. 
*  *  * 

Estelle  Taylor  is  back  from  her  jaunt  around 
the  country  on  a  vaudeville  tour,  and  in  spite 
of  the  success  she  had  in  her  new  medium  of 
singing,  her  head  is  as  squarely  set  on  her 
shoulders  as  it  always  has  been.  She  had  been 
in  town  only  a  day  or  two  when  she  was  offered 
the  lead  in  Cecil  De  Mille's  forthcoming  musi- 


Mrs.  Smith  and  her  little  boy,  Stanley.   He  may  be 
the  hottest  juvenile  lead  in  Hollywood  but  he's  only 
'Stan    to  her! 


•cal  play  "Madame  Satan"  and  asked  to  go  to 
the  studio  for  a  voice  test.  Estelle  didn't  like  the 
idea  of  it.  "I  need  more  seasoning.  My  voice  is 
much  too  new,"  she  protested  but  did  promise  to 
make  an  audition.  What  was  her  consternation  to 
find  instead  of  just  people  concerned  in  making  the 
test,  there  was  Mr.  De  Mille  and  all  of  his  staff, 
about  thirty-five  people.  For  a  minute,  Estelle 
thought  she  would  fall  through  the  floor.  Then  she 
began  to  search  her  memory  for  something  that 
would  give  her  courage.  She  recalled  an  incident 
on  the  road  when  a  little  dog  was  trying  to  wriggle 
into  a  stage  dressing-room.  She  could  just  see  it 
out  of  the  corner  of  her  eye  and  figured  it  would 
be  her  luck  to  have  some  one  shut  the  door  on  him 
before  she  got  through.  Sure  enough,  just  as  she 
started  a  crescendo  the  door  shut  on  the  pup's  tail 
and  his  howl  blended  with  her  top  note! 

"I  thought  surely  the  house  would  burst  into  a 
roar  of  laughter,  and  if  they  had  I  should  have 
died  right  then  and  there.  Instead  of  that,  not  a 
soul  moved.  If  anyone  noticed  the  duet  they  never 
let  on  and  when  it  was  over  they  fairly  cheered. 
So  I  thought  to  myself  in  this  moment  of  need — 
well,  if  I  could  hold  twenty-five  hundred  people 


Ruth   Chatterton,    (left),   as   she   appears  in 
"Paramount  on  Parade"  with  Victor  Schertsinger 
director,  and  Elsie  Janis  who  supervised  this 
all-star  frolic. 


over  the  howling  of  a  dog  I  should  worry 
about  Cecil  B.  De  Mille!" 

Afterwards,  Mr.  De  Mille  complimented  her 
very  highly  and  gave  her  the  part  to  read.  That 
night  she  turned  it  over  in  her  mind.  "My 
first  talking  picture.  My  first  singing  part. 
The  first  time  I  have  used  a  French  accent.  All 
these  new  things  at  once  and  my  voice  is  new, 
too.  No  matter  how  many  times  I  add  it  up 
I  can't  seem  to  get  the  right  answer."  The 
part  had  rather  a  peculiar  situation.    She  was 


Ex-President  Coolidge  and  Mrs.  Coolidge  witness  the  filming 
of  a  scene  from  "Viennese  Nights."  With  them  are  Alan 
Crosland,  Jack  Warner,  Mary  Pickford,  and  Mrs.  T.  G.  Winter. 


for     May     19  3  0 


101 


Two    A  merican    queens,    Mary    Pickford  and 
Norma  Talmadge,  greet  Allister  MacDonald, 
the  son  of  Britain's   prime   minister,   on  his 
visit  to  Hollywood. 


supposed  to  go  to  a  party  masked,  and  her  hus- 
band doesn't  know  her.  Mr.  De  Mille  thought 
this  might  not  be  easy  to  make  convincing  be- 
cause Estelle  has  such  a  short  upper  lip.  He 
asked  her  if  she  could  hold  it  down  a  little. 
Estelle  thought  to  herself,  "Along  with  my 
French  accent,  my  new  voice  and  my  first 
talking  picture  I  am  to  hold  my  hp  down." 
She  reached  for  the  script  and  handed  it  to 
Mr.  De  Mille.  "Here,  take  it  back.  Life  is 
too  short,"  said  Estelle. 


Kay  Johnson  was  finally  cast  in  the  part  and 
we  have  a  hand  for  Kay  any  old  time  she  wants 
to  speak  a  piece,  but  111  wager  that  Estelle 
Taylor  is  just  about  the  only  girl  in  Hollywood 
who  would  tell  such  a  story  on  herself. 

Cliff  'Ukulele  Ike'  Edwards  was  sitting  on 

the  stone  wall  outside  the  M.G.M.  commissary 

with  a  disgusted  look  on  his  face  and  a  letter 

in  his  hand.     When  asked  what  had  caused 

this  disgruntled  state  Cliff  replied,  "I  just  got 

one  of  those  chain  letters  from  Doug  Fairbanks, 

darn  it  all."    Suddenly  he  seemed  to  make  up 

his  mind  on  some  point.    "Em  going  to  send 

it  to  my  horse!"  he  declared. 

*  *  % 

Fifi  Dorsay  and  Greta  Garbo  have  struck  up 
a  great  friendship.  They  are  seen  about  together 


John  McCormack,  Charles  Farrell  and  Victor  McLaglen  hold 
a  conference  of  the  Mutual  Admiration  Society  on  the  lot. 
John's  a  good  actor,  too. 


Barney  Fagan,  world's  oldest  dancer,  demonstrates  his 
favorite  steps  on  his  eightieth  birthday  to  Sammy  Lee 
and  a  bevy  of  Sammy  Lee  girls. 


a  lot  and  it  is  amusing  because  Greta  is  shy  and 
hates  to  mix  and  mingle,  and  Fifi  is  the  most  con- 
vivial soul  imaginable. 

*  *  * 

There  is  a  young  chap  on  the  First  National  lot 
who  is  quite  a  man  of  business.  He  is  nine  years 
old  and  his  name  is  Larry  Hickenlooper.  His  regu- 
lar business  is  selling  papers  but  once  in  awhile  he 
bursts  into  celluloid;  he  played  the  powder  monkey 
in  "The  Divine  Lady!"  He  gets  toys  and  clothes 
from  almost  every  star  on  the  lot.  Corinne  Griffith 
gave  him  a  toy  airplane  which  Larry  will  tell  you 
is  'slick.    I  can  make  her  loop  now!' 

Larry  has  saved  up  $270  toward  a  real  airplane 
and  not  all  the  accidents  in  the  United  States  can 
turn  him  from  his  purpose,  "  'Cause  I'm  going  to 
be  a  good  pilot,  and  I'm  going  to  take  good  care  of 
my  plane — like  Lindy,"  he  stoutly  avers. 

*  *  * 
Irving   Asher   tells  this   one   on   Lupe  Veles. 

Fitzmaurice,  who  always  called  Lupe  'Madame 
Mex1  was  the  director  and  Irving  was  his  assistant. 
In  those  early  days  of  her  advent  to  the  States 
Lupe  got  everything  twisted  up.  She  rarely 
said  what  she  meant:  it  was  always  backwards. 


102 


SCREENLAND 


So  when  Lupe  told  Irving 
that  she  had  lost  the 
dressing  room  for  her  key, 
Irving  immediately  insti- 
gated a  search  for  the 
key  to  Lupe's  dressing' 
room.  None  could  be 
found.  "Never  mind, 
Lupe,"  said  Irving,  "I'll 
send  for  the  pass  key." 

"Pass  key,"  stormed  the 
little  tamale,  "what  for'  I 
want  pass  key  for,  so  and 
so  and  so  and  so!  Here 
is  key.  Lupe  has  lost 
dressing-room  that  fits  it!" 
And  she  meant  just  that. 
There  were  so  many  long 
halls  and  twists  and  turns 

she  couldn't  find  her  way. 
*      *  * 

Here  is  Jetta  Goudal 
right  back  on  the  job  in 
the  French  production  of 
"The  Unholy  Night"  and 
on  the  lot  where  all  the 
row  went  on  between  La 
Goudal  and  Mr.  De  Mille! 
And  Pauline  Garon, 
whom  everyone  had 
marked  for  the  shelf, 
just  waved  a  couple  of 
French  sentences  in 
front  of  the  producers 
and  they  grabbed  right 
and  left.  A  girl  who  knows  picture  technique  and  who 
also  knows  French  is  welcome  in  these  parts.  Lionel 
Belmore,  the  only  member  of  the  English  speaking  cast 
retained  for  the  French  version  because  he  can  speak 
French  too,  heaves  a  sigh  of  relief  after  each  scene  and 
says,  "Well,  I  got  through  that  one  all  right."  It's  puzzling 
when  you  have  learned  lines  in  English  to  say  them  in 
French. 

The  dashing  Andre  Luguet,  famous  star  of  the  Comedie 
Francaise,  was  brought  to  Hollywood  especially  for  the 
Jead  in  this  picture  and  Jetta  plays  opposite  him. 


One  of  Billy  Sevan's  hid- 
den charms  was  his  infec- 
tious laughter  until  the 
talkies  broke  his  silence. 
Now  he  can  laugh  out  loud. 


An  amusing  thing  happened 
of  Corinne  Griffith's 
"Back  Pay."  The  script 
required  furniture  which 
would  be  a  throwback  to 
the  Victorian  period. 
Walter  Morosco  explained 
what  was  wanted  and  a 
few  days  afterwards  the 
property  man  said  to  him, 
"Now,  we've  got  the  fur- 
niture, the  phonograph, 
lace  curtains  and  all  for 
that  set,  but  we  can't  find 
that  'throw'  you  were 
talking  about,  and  we  fig- 
ured that  if  it  was  one 
of  those  early  American 
towns  a  silk  crazy  quilt 
might  do  just  as  well." 
*      *  * 

We  were  lunching  with 
Frank    Albertson  whom 


during    the  filming 


Fox  declares  to  be  the 
find  of  the  season  and 
who  has  won  the  much 
talked  of  role  of  the  son 
in  Will  Rogers'  next, 
"They  Had  to  See  Lon- 
don," now  in  production 
at  Fox  Hills. 

There  was  someone  in 
the  restaurant  laughing 
very  boisterously  and  at- 
tracting a  lot  of  attention. 
Frank  ground  his  teeth 
and  made  all  the  motions 
of  one  person  strangling 
another.  "Gee!  I  hate  to 
hear  anyone  go  on  like 
that  in  a  public  place," 
he  said.  "A  pal  and  my- 
self were  at  the  Grove 
one  evening  during  the 
stock  market  excitement. 
Some  man  began  blowing 
about  how  much  he  had 
made  and  how  easy  it 
was.  We  stood  it  as  long 
as  we  could  and  then  I 
bellowed  forth,  'Well,  I'm 
in  the  picture  business 
and  I — so  on  and  so  on.' 
He  got  it,  too.  Shut  up 
like  a  lamb." 

We  asked  Frank 
whether  this  was  his  first 
season   in   pictures,  and 

were  surprised  to  find  that  he  had  been  in  them  off  and 
on  since  he  was  thirteen  years  old.  Just  bits  and  atmos- 
phere when  he  could  manage  it  with  school.  "Oh,  yes," 
he  laughed,  "I've  been  in  pictures  quite  a 
but  pictures  didn't  know  it!" 


Frank  Albertson  gets  the 
only  kind  of  air  Hollywood 
will  give  him  since  he  be- 
came a  favorite  screen 
juvenile. 


long  time — 


Richard  Dix  and  Lois  Wilson  are  reunited.  No, 
not    really.     Just   for   Richard's    new  picture, 
called  "I  Love  You." 


We  have  been  told  that  the  two  cannibals  who  were 
brought  over  from  Africa  by  Director  W.  S.  Van  Dyke 
to  finish  scenes  in  "Trader  Horn"  and  who  can  not  speak 
a  word  of  English  were  asked  by  an  interpreter  what  they 
thought  of  Greta  Garbo.  They  dismissed  the  Swedish 
siren  with  a  shrug  and  the  words,  "Stomach  too  flat." 


And  now  we  have  an 
assistant  director,  the  first 
of  her  sex  to  attempt  this 
harassing  job.  Her  name 
is  Winifred  Laurance. 
Her  mother  was  a  Rus- 
sian, her  father  an  Eng- 
lishman, and  she  has 
had  altogether  a  very 
exciting  career  and  inter- 
esting background.  She 
was  script  girl  for  Ernst 
Lubitsch,  Ludwig  Berger 
and  other  foreign  direc- 
tors and  now  she  has 
taken  this  last  strenuous 
task  upon  her  slim  young 
shoulders.  She  is  assisting 
Fred  Zelnik  who  will  di- 
rect the  foreign  versions 
of  "Rio  Rita"  and  "The 
Case  of  Sergeant  Grischa." 


for     May     19  30 


103 


Both  at  Home 
and  in  tneif  Studio  Dressing  Rooms 

9  out  of  10  Screen  Stars  use  Lux  Toilet  Soap 


Hollywood —  then  Broadway 
—  and  now  the  European 
Capitals  acclaim  it 

NO  MATTER  how  perfect  a 
girl's  features,  she  lacks  the 
power  to  attract  romance  if  she 
hasn't  charming  smooth  skin. 

"Lovely  skin  is  absolutely  es- 
sential for  that  attractiveness 
which  touches  hearts."  This  is  the 
conclusion  drawn  by  45  leading 
Hollywood  directors.  For  the  close- 
up,  with  its  revealing  blaze  of  light, 
a  smooth  ski  n  is  essential,  they  say. 

And  so,  of  the  521  important 
actresses  in  Hollywood,  including 
all  stars,  511  care  for  their  skin 
with  Lux  Toilet  Soap.  They  use 
this  white,  daintily  fragrant  soap 
not  only  at  home,  in  their  own 
luxurious  bathrooms,  but  in  their 
dressing  rooms  on  location,  as  well. 


All  the^  great  film  studios  have 
made  Lux  Toilet  Soap  official  for 
their  dressing  rooms.  So  essential 
is  it  that  every  girl  in  motion  pic- 
tures shall  have  the  very  smooth- 
est skin! 

The  Broadway  stage  stars,  too, 
have  long  been  using  Lux  Toilet 
Soap.  And  now  the  continental 
screen  stars — in  France,  in  Eng- 
land, in  Germany  —  are  just  as 
enthusiastic  about  it  as  are  the 
American  stars. 

You  will  love  its  caressing  lather, 
always  so  very  generous  even  in 
the  hardest  water.  And  the  deli- 
cate care  it  gives  your  skin!  Order 
several  cakes — today. 


Photo  by  Bachracb 

Bebe  Daniels,  fascinating  Radio 
Pictures'  star,  in  the  luxurious  bathroom 
especially  designed  and  built  in  Holly- 
wood for  her  dark  beauty.  She  says: 
"LuxToilet  Soap  is  a  great  help  in 
keeping  the  skin  smooth  and  lovely." 


Photo  by  C.  S.  Bail 


Left — Bessie  Love,  lovely  Metro- 
Goldwyn-Mayer  star,  says  of  Lux 
Toilet  Soap:  "It  leaves  my  skin 
as  softly  smooth  as  the  most  ex- 
pensive French  toilet  soaps." 


Photo  by  C.  S.  Bull 

Abo.e  —  Anita  Page,  young  Metro -Golden- 
Mayer  star,  has  the  softest,  smoothest  skin  im- 
aginable. She  keeps  it  at  its  best  with  Lux  Toilet 
Soap,  and  says:  "I  always  use  Lux  Toilet  Soap! 
It  keeps  my  skin  so  wonderfully  smooth." 


LUX  Toilet  Soap 


Luxury  such  as  you  have  found  only  in  Jine  trench 
soaps  at  $0$  and  $1.00  the  cake    .     .  NOW 


10 


104 


SCREENLAND 


o4SK 

(Me 

An  Answer  Depart- 
ment of  Information 
about  Screen  Plays 
and  Players 

By  Mm  Vee  Dee 

Bunny  S.  of  Medfield,  Mass.  What 
a  breezy  letter  you  do  write. 
You  wish  heaven  would  send  a 
wild  wind  storm  and  blow  all 
the  stars  you  don't  like  out  of  Holly- 
wood. My  dear,  what  a  suggestion;  but 
I'll  not  breathe  it  to  a  soul!  Thelma 
Todd,  Neil  Hamilton,  Robert  Frazer,  Danny 
O'Shea  and  Cornelius  Keefe  all  came  from 
your  state.  Charles  Farrell  was  born  Aug. 
9,  1902,  at  Onset  Bay,  Mass.  Leatrice 
Joy  was  born  in  New  Orleans,  La.  in  1897. 
Her  real  name  is  Leatrice  Joy  Zeidler.  She 
has  black  hair,  dark  brown  eyes,  is  5  feet 
2  inches  tall  and  weighs  12?  pounds.  She 
appears  in  "A  Most  Immoral  Lady." 

Lois  B.  from  7^[ew  Tor\.  Take  your 
time;  stop  crowding.  There's  plenty  of 
time  for  discussing,  'why  is  a  mustache?" 
I'll  appoint  a  committee  of  three  "Ask  Me" 
departments  of  which  I'm  all  of  them,  to 
ask  the  male  stars  just  why  they  have  to 
adorn  their  otherwise  good-looking  faces 
with  that  bit  of  fuzz.  Here  is  where  you'll 
help  me  start  something  good.  Conrad 
Nagel  is  the  first  on  the  list.  Now  that 
the  campaign  is  well  launched,  we're  off. 
Conrad  was  born  March  16,  1897,  at 
Keokuk,  Iowa.  His  wife  is  Ruth  Helms 
and  they  have  a  daughter,  Ruth  Margaret. 

Dorothy  of  the  Bronx.  Would  I  ad- 
vise the  18-day  Hollywood  diet?  I'm  not 
knocking  the  pineapple  and  lamb  chop 
growers  association  but  I  don't  follow  it 
myself.  I'm  just  a  sylph.  You  can  reach 
Mary  Brian  and  Nancy  Carroll  at  Para- 
mount Studios,  5451  Marathon  St.,  Holly- 
wood, Cal.  Lupe  Velez  at  United  Artists, 
1041  No.  Formosa  Ave.,  Hollywood,  Cal. 
Johnny  Walker  is  a  free-lance  player  and  I 
have  no  permanent  address  for  him,  but 
you  might  try  sending  your  letter  to  him 
addressed  just  Hollywood,  Cal.,  as  he  is 
very  well  known  there. 

A  Blonde  from  Racine,  Wi.s.  How  do 
you  get  that  way?  Never  mind,  don't  tell 
me.  How  do  I  pronounce  Marie  Prevost's 
last  name?  Drop  the  last  two  letters,  make 
the  o  long,  then  snap  into  and  accent  the 
Pre  and  you  have  the  charming  little  lady's 
name.  As  far  as  I  know  the  film  you  ask 
about  is  no  longer  in  circulation. 

Betty  from  Pittsburgh.  Just  drop  another 
quarter  in  the  gas  meter  and  get  the  latest 


Evelyn  Brent  holds  the  record  for 
being   the   most   popular   girl  of 
the   month    in   Miss    Vee  Dee's 
Department. 

news  about  your  screen  favorites.  Billie 
Dove  appears  in  "Careers"  with  Thelma 
Todd  and  Antonio  Moreno.  Billie  is  5 
feet  6  inches  tall  and  weighs  119  pounds. 
She  was  married  Oct.  27,  1923,  but  is 
separated  from  her  husband,  Irvin  Willat. 
You  can  reach  Billie  at  First  National  Stu- 
dios, Burbank,  Cal.  Clive  Brook  and 
Richard  Arlen  at  Paramount  Studios,  5451 
Marathon  St.,  Hollywood,  Cal.  Milton 
Sills  at  Fox.  Larry  Kent  is  a  free-lance 
player. 

Buster  Brown  of  Mus\egon.  So  you 
want  to  sell  me  a  lot,  do  you?  That's 
fine,  but  what  do  you  mean,  a  lot  of  what? 
Several  screen  players  were  born  in  your 
birth-month,  October:  Jean  Arthur  on  the 
17th;  Marjorie  Beebe  on  the  9th;  Gladys 
McConnell  on  the  22nd;  Carol  Lombard 
on  the  6th;  Jeanette  Loff  on  the  9th;  Janet 
Gaynor  on  the  6th;  and  Sue  Carol  on  the 
30th.  Colleen  Moore  was  born  Aug.  19, 
1902.  Her  latest  picture  is  "Footlights  and 
Fools"  with  Raymond  Hackett  and  Fredric 
March,  a  combination  of  personality  that's 
hard  to  beat.  Barry  Norton  was  born 
June  16,  1905,  in  Buenos  Aires,  Argentine. 

Donna'  of  Milwaukee.  Your  one  weak- 
ness is  my  department  in  Screenland. 
Am  I  your  slave?  You've  proved  it.  You 
can  write  to  Grant  Withers  at  Warner 
Bros.  Studios,  5842  Sunset  Blvd.,  Holly- 
wood, Cal.  Loretta  Young  at  First  National 
Studios,  Burbank,  Cal.  Nils  Asther  and 
Robert  Montgomery  at  Metro-Goldwyn- 
Mayer  Studios,  Culver  City,  Cal.  Robert's 
fan  mail  is  not  to  be  sniffed  at  since  he 
is  going  over  so  big  in  his  celluloid  re- 
leases, "Untamed"  with  Joan  Crawford  and 
"Their  Own  Desire"  with  Norma  Shearer. 

H.  M.  from  Ragoon.  A  call  from  far- 
off  Burma  for  Ruth  Dwyer.  Take  your 
bow,  Ruth,  while  I  tell  your  admirer  what 
I  know  about  you.  This  charming  little 
lady  will  be  known  in  the  future  profession- 
ally as  Betty  Strong.  She  was  born  in 
Brooklyn,  N.  Y.,  and  began  her  career  in 
musical  comedy  under  the  direction  of  the 
late  John  Cort.     She  later  entered  motion 


Miss  Vee  Dee  will  be  glad  to 
answer  any  questions  you  may 
care  to  ask  about  pictures  and 
picture  people.  If  you  wish  an 
answer  in  the  Magazine,  please 
be  patient  and  await  your  turn; 
but  if  you  prefer  a  personal 
reply,  please  enclose  a  stamped 
addressed  envelope.  Address: 
Miss  Vee  Dee,  Screenland 
Magazine,  45  West  45th  Street, 
New  York  City. 


picture  work  and  played  opposite  Benny 
Leonard  of  pugilistic  fame  in  several  serials 
and  was  featured  with  Reginald  Denny, 
Johnny  Hines,  and  other  popular  male 
stars.  She  played  in  a  number  of  British 
film  productions  for  a  prominent  London 
producer  for  a  year  or  more  but  is  now 
doing  picture  work  in  the  U.  S.  A.  as 
Betty  Strong. 

Lena  G.  from  Dushore,  Pa.  Send  your 
request  for  a  picture  of  Lloyd  Hughes  to 
First  National  Studios,  Burbank,  Cal.,  where 
he  is  under  contract.  Two  of  his  latest 
pictures  are,  "The  Mysterious  Island"  and 
"Where  East  is  East,"  produced  by  M-G-M. 
His  next  film  will  be  under  the  RKO  ban- 
ner, "When  Love  Comes  Along"  with 
Bebe  Daniels. 

A  Puzzled  Fan  from  Chattanooga.  No, 
I'm  not  a  myth  but  a  real  lady  I  hope. 
You're  not  the  only  admirer  of  Clive 
Brook — he  has  millions  of  'em.  He  was 
born  June  1,  1891,  in  London,  England. 
He  has  brown  hair,  gray  eyes,  is  5  feet  1 1 
inches  tall  and  weighs  149  pounds.  His 
wife,  Mildred  Evelyn,  was  an  English 
actress.  They  have  two  children,  Faith, 
who  is  eight  years  old,  and  Clive,  Jr.,  two 
and  a  half.  Mr.  Brook's  latest  picture  is 
"New  Morals"  with  Ruth  Chatterton. 

Edna  from  Ts[ew  Yor\.  Of  course,  I  won't 
mind  answering  your  questions — I  don't 
mind  anything.  Sally  O'Neil's  real  name 
is  Virginia  Louise  Noonan  and  Molly 
O'Day's  is  Suzanne  Dobson  Noonan.  Sis- 
ters? You  bet!  Claire  Windsor  was  born 
in  Coffee  City,  Kansas.  Her  real  name  is 
Claire  Viola  Cronk. 

V.  J.  H.  of  Swansea,  S.  Wales.  You 
think  Screenland  is  a  great  magazine 
from  beginning  to  end — far  be  it  from  me 
to  contradict  you  for  I'm  a  bit  so-and-so 
over  it  myself.  Elizabeth  Edna  Murphy 
was  born  in  New  York  City.  She  has 
blonde  hair,  blue  eyes,  is  5  feet  2  inches 
tall  and  weighs  101  pounds.  Her  husband 
is  the  well-known  director,  Mervyn  LeRoy. 
Doris  Dawson  was  born  April  16,  1909, 
in  Goldfield,  Nevada.  She  is  5  feet  1  inch 
tall,  weighs  103  pounds  and  has  red  hair 
and  blue  eyes.  Lily  Damita  was  born  in 
Paris,  France,  on  July  20,  1906.  She  has 
ash-blonde  hair,  brown  eyes,  is  5  feet  3 
(Continued  on  page  128) 


for    May     19  30 


105 


"Ordinary  soaps  can  do  great  harm" 

says  the  famous  beauty  expert 

CARSTEN  of  Berlin 


"Daily  cleansing  with  Palmolive 
Soap  is  the  basis  of  all  my  treat- 
ments, even  the  most  elaborate." 


"Ordinary  soaps  can  do  great 
harm.Modern  beauty  specialists 
advise  a  soap  made  of  vegetable 
oils...  the  pure  oils  of palm  and 
olives.  Palmolive  Soap  is  fresh 
and  bland,  safe  for  the  most  sen- 
sitive complexion.  It  leaves  the 
skin  in  the  best  possible  condi- 
tion for  a  beauty  expert's  treat- 
ment." 


Today,  more  than  ever  before,  it 
is  important  to  wash  the  face  with 
this  olive  oil  soap  which  is  safe, 
bland,  non- irritating. 

"\TtW  beauty  treatments,  such  as  ultra-violet 
-L  >  rays  and  radio-active  preparations,  un- 
doubtedly have  their  value  in  certain  conditions 
of  the  skin,  but  it  must  not  be  imagined  that 
older  and  simpler  methods  are  superseded,"  says 
Leo  Carsten,  proprietor  of  the  famous  "Figaro' 
beauty  shop  on  the  Kurfurstendam  in  Berlin. 

"Soap  and  water,  for  example,  are  still  the 
finest  possible  cleansers  for  the  skin,"  he  adds. 
"You  will  realize  the  importance  of  this  when  I 
say  that  daily  cleansing  with  Palmolive  Soap  is 
the  basis  of  all  my  treatments,  even  the  most 
elaborate." 

Herr  Carsten,  better  known  as  "Figaro,"  is  head 
of  the  leading  beauty  salon  in  middle  Europe . . . 
located  on  one  of  the  most  fashionable  streets 
in  the  world.  He,  himself,  is  well  known  in 
Berlin  social  circles  as  well  as  in  the  world  of 
beauty  science. 

i8poo  famous  experts  agree 

In  this  shop ...  in  other  beauty  shops  patron- 
ized by  the  smart  women  of  the  world's  leading 


Facade  of  Carsten' s  famous  beauty  salon  on  the 
Kurfurstendam  in  Berlin . . .  one  of  the  most  ele- 
gant shops  on  an  avenue  famous  for  its  smartness. 

capitals . . .  the  advice  to  use  Palmolive  is  part 
of  every  recommended  home  facial  treatment. 

Palmolive  is  made  of  the  oils  of  palm  and 
olives  ...  no  other  fats  whatever.  Its  color  is 
the  natural  color  of  these  oils.  Its  natural 
odor  makes  unnecessary  the  addition  of  heavy 
perfumes. 

This  is  the  Palmolive  treatment 
This  is  the  way  to  get  the  best  results:  make 
a  creamy  lather  of  Palmolive  Soap  and  warm 
water.  Massage  it  into  the  face  and  throat.  Rinse 
with  warm  water,  then  with  cold.  That's  all. 
Yet  thousands  of  great  beauty  experts,  millions 
of  their  clients,  find  it  the  most  effective  safe- 
guard for  beauty.  And  Palmolive  costs  so  little 
that  one  uses  it  for  the  bath,  of  course,  as  well. 
Begin  these  twice-a-day  treatments  tomorrow. 
They  will  protect  your  skin  from  irritation 
.  .  .  keep  it  fresh, 
glowing,  lovely. 

Retail  Price  10° 


PALMOLIVE  RADIO  HOUR  -  Broadcast  every  Wednesday  night  -  from  9:30  to  10:30  p.m.. 
Eastern  time;  8:30  to  9:30  p.  m.,  Central  time;  7:30  to  8:30  p.  m.,  Mountain  time;  6:30  to  7:30  p.  m. , 
Pacific  Coast  time  —  over  WEAF  and  39  stations  associated  with  The  National  Broadcasting  Co. 


5147 


106 


SCREENLAND 


Keeping  Fit  Beautifully  —  Continued  from  page  95 


dull  that  you  need  to  fly  to  an  occulist 
and  have  them  treated.  If  you  put  on 
glasses  you  may  see  better  but  your  eyes 
slowly  atrophy.  In  many  cases,  a  good 
occulist  is  necessary.  But  first,  try  treating 
your  eyes  to  more  rest,  and  exercise.  There 
are  exercises  and  remedies  that  help  bring 
back  strength  and  beauty.  I  have  written 
about  this  before  and  offered  the  exercises. 
Well,  they're  still  available  if  you  want 
them! 

And  now,  about  figures.  During  winter 
you  have  eaten  too 
much  and  exercised 
too  little.  That's 
why  you're  dull, 
clogy,'  lacking  pep 
and  ambition.  We 
have  talked  about 
waking  up  the  face 
and  hair;  we  must 
now  wake  up  the 
body,  get  it  into  per' 
feet  line,  no  thick- 
ness anywhere,  no 
little  humps  ■ —  the 
slim,  graceful  body 
that  goes  with  the 
sea  season  and  can 
wear  the  new  clothes 
becomingly. 

Some  time  ago,  the 
famous  Mr.  Ziegfeld 
who,  it  is  said,  fore 
casts  our  national 
ideas  of  feminine 
pulchritude  with  an 
almost  uncanny  ac- 
curacy, decreed  that 
the  members  of  his 
chorus  henceforth  be 
other  than  slatlike  in 
outline.  Then  came 
the  rumor  that  Hol- 
lywood had  given  its 
approval  to  curves, 
and    this    met  with 

the  approval  of  both  doctors  and  dress- 
makers. Personally,  however,  though  the 
health  experts  have  a  right  to  rejoice  that 
women  have  gotten  over  their  craze  for 
super-slimness,  I  believe  that  Mr.  Ziegfeld, 
Hollywood  and  the  fashion  arbiters  are  the 
real  authorities  for  the  change. 

That  the  present  trend  is  back  to  nor- 
malcy is  a  credit  to  our  national  sense. 
And  this  trend  doesn't  mean  that  all  the 
attention  which  has  recently  been  paid  to 
problems  of  diet  and  exercise  will  go  by 
the  boards.  Indeed,  it  will  have  more 
value  now  that  it  is  to  be  applied  with 
common  sense.  To  some,  it  may  seem  as 
hard  to  become  gracefully  slim  as  it  was 
to  become  stylishly  flat;  but  anyway,  build- 
ing up  by  exercise,  attaining  the  slim  round- 
ness the  new  clothes  require,  should  be 
neither  difficult  or  unpleasant. 

There  is  one  form  of  exercise  that  I 
especially   recommend  in   spring;   not  the 


Dorothy 
which  s 
sh 


jerky,  unimaginative  movement  kind  of  ex-  again  to  the  limit.  And  if  you  want  further 
ercise,  but  the  fundamental  things  that  ani-  instructions  about  exercises  just  write  to 
mals  do  instinctively  to  keep  themselves  fit.     me  and  I'll  send  them. 

The  one  exercise  I  would  advocate,  if  I  1.  Lie  flat  on  your  back  with  arms  above 
could  choose  but  one,  would  be  stretching!  your  head.  Gently  stretch  your  whole  body, 
These  exercises  have  much  to  recommend  making  each  limb  feel  as  though  it  were 
them  because  they  may  begin  before  one  trying  to  reach  something  beyond  its  length, 
is  out  of  bed  in  the  morning.  Most  of  us  legs  stretching  downward  and  arms  upward, 
do  a  bit  of  involuntary  stretching  upon  Relax.  Stretch  again  a  little  more  vigor- 
awakening,  feeling  perhaps  that  there  must  ously.  Repeat  from  two  to  six  times, 
be  something  wrong  with  us  because  we  2.  Let  one  arm  lie  at  your  side;  draw- 
don't  feel  like  jumping  blithely  out  of  bed     ing  up  the  knee  on  the  same  side,  rest  the 

leg  on  the  foot.  This 
relaxes  the  muscles 
on  that  side  of  the 
body.  Stretch  the 
other  arm  and  leg  as 
much  as  possible. 
Relax  and  stretch  the 
other  side  in  the 
same  manner.  Re- 
peat exercise  two  to 
four  times. 

3.  You'll  feel  alive 
now,  so  jump  out  of 
bed  and  standing 
straight,  stretch  the 
arms  up  as  far  as 
possible.  At  the 
same  time  stretch  the 
leg  muscles  and  rise 
on  the  balls  of  the 
feet,  head  stretching 
up,  chin  held  straight, 
not  sagging.  Relax, 
letting  arms  fall 
down,  then  stretch 
the  arms  up  once 
more.  When  you 
feel  that  you  have 
stretched  the  limit, 
drop  all  of  a  sudden 
toward  the  floor — 
arms,  head,  shoulders 
limp.  Do  this  several 
times  until  you  are 
all    loose    and  your 


Mackaill,  the  model  of  health  and  good  grooming 
pell  beauty,  consults  her  trusty  barometer  to  see  if 
e  works  today  or  stays  home  at  Malibu  Beach. 


the  moment  we  are  awake.  The  fact  is, 
we  shouldn't  jump  suddenly  out  of  bed. 
The  body  should  be  awakened  slowly. 

Stretching  brings  you  alive.  It  keeps 
your  poor  body,  bowed  with  responsibility, 
from  settling  that  way.  It  awakens  the 
entire  body,  sending  the  blood  coursing 
through  the  veins  as  Nature  intended. 
Upon  waking  up  in  the  morning  and  be- 
fore going  to  sleep  at  night  are  the  best 
time  for  these  exercises.  Between  each 
stretch,  relax  completely  for  a  moment  to 
allow  the  blood  to  race  through  the  worked 
muscles. 

Certain  parts  of  the  body  don't  get  any 
exercise  at  all.  Stretching  gets  at  these 
parts.  You  don't  really  have  to  be  told  how 
to  stretch;  the  impulse  is  inside  us,  born 
there.  But  just  to  start  you  off  I'll  give 
you  a  few  instructions  to  go  by.  But 
when  you  have  followed  them,  don't  stop 
there,   but  just  stretch — and   then  stretch 


blood  racing. 

Stand  now,  before  an  open  window,  and 
with  hands  raised,  palms  outward,  inhale 
deeply,  counting  ten.  Hold,  count  ten, 
exhale,  count  ten  and  repeat.  Do  this 
several  times — breathe  deep,  stretch — it's  a 
superb  tonic.  Keep  your  shoulders  soft, 
not  tense. 

Now  your  shower,  and  you're  ready  to 
dress.  And  all  this  has  not  taken  nearly 
as  long  as  it  has  taken  me  to  tell  you  about 
it.  But  it  was  time  enough  to  add  to  the 
length  of  your  days,  and  to  the  loveliness 
in  the  world. 

Would  you  like  to  know  more  about 
beauty  care  for  the  days  when  winter's  gone 
and  summer  beckons?  More  about  keep- 
ing beautifully  fit?  How  to  attain  popular- 
ity and  charm?  After  all,  good  looks  de- 
pend almost  entirely  on  whether  you  are 
able  and  willing  to  make  and  keep  your- 
self fit.    It's  all  in  your  own  hands! 


WHEN  BEAUTY  BECKONS 
Do  you  read  Anne  Van  Alstyne's  beauty  department?  Every  number 
contains  valuable  information  on  beauty  care.  How  to  attain  a  lovely 
complexion,  beautiful  hair,  a  lithe,  graceful  body;  all  the  details  of  good 
grooming  that  make  for  individual  charm.  For  personal  advice  on 
beauty,  write  Miss  Van  Alstyne,  at  45  West  45th  Street,  New  York 
City,  enclosing  stamped  self  addressed  envelope. 


for     May     19  3  0 


107 


'A  drop  of  it... sol  and 


ten 


y 


ears  s 


h, 


awa 


■y 


i" 


says  VIRGINIA  VALLI 

'You  rememher  the  old  rainy  days  up 
in  the  attic?  Dressed  in  grown-up  clothes? 
. .  .putting  on  grown-up  airs  ?  Well  I 
have  a  theory  that  we  grown-ups  lihe 
to  dress  up,  too. ..  But  we  lihe  to  turn 
hach  the  clock...  and  play  were  our 
younger  selves]  Hats ..  .jroclcs. ..  often  I 
buy  them,  to  encourage  that  mood. . . 
And  now..  .And  now,  I  ve  a  perfume. . . 
an  ever  so  much  quicher  way..  .A  breath 
of  SEVENTEEN  upon  me...  and  I  m 
joyously  in  the  role ...  playing  Im  my 
youngest,  gayest  mef 


%((# 


Breath  of  the  Al.odern  5pint 

a  new  perfume... SEVENTEEN 

Young. .  .with,  eternal  youtli. .  .Sophisticated. .. 
as  whispered  repartee  ..  .NVive ...  darmg .. . 

JOU  1  of  the  modern  woman . . .  part  oft  er  vivia 
personality ...  breatk  of  her  different  cliarm  

Seventeen  comes  like  a  crisp,  fresli  breeze, 
after    all    tlie    cloying    perfumes    you  have 


lie    cloying    perlumes  you 
known.  Seventeen  —  like  you  —  dares  to  be 
differ  en  t . . .  new ! 

cc         c<  c< 


Xry  Se 


11  find  it 


.ry  Seventeen  today...  you  wi 

wherever  fine  toiletries  are  sold 

And  how  delightful  to  know  that  every  rite  of  the 
dressing  table  can  be  fragranced  with  Seventeen! 
The  Perfume,  in  such  exquisite  little  French  flacons 
...the  Powder,  so  new  and  smart  in  shadings ..  .the 
Toilet  Ti^ater,  like  a  caress. .  .the  fairy-fine  Dusting 
Powder  for  after-bathing  luxury. ..the  Talc... the 
Sachet ..  .t-wo  kinds  of  Brillantine  .  . .  and  the 
Compact,  gleaming  black  and  gold . . .  like  no  other 
compact  you've  seen.  You  will  adore  them  all ! 


108 


SCREENLAND 


On  Location  with  "Numbered  Men"  —  Continued  from  page  6J> 


Ray  isn't  so  keen  on  the  night  and  day 
shifts  sometimes  required  in  studio  work. 
"But  then  I  think  of  the  week  or  two  of 
rest  that  we  get  with  pay  between  pictures 
and  that  cheers  me  up.  Of  course,  the 
freelance  players  haven't  .such  a  good  job 
of  it,  because  when  they  take  a  rest  the 
money  stops." 

Ray  loves  to  travel  and  he  loves  garlic 
in  his  salad.  Whereupon,  I  asked  him  if 
he  had  ever  had  it  in  artichokes  and  pre 
ceeded  to  give  him  my  favorite  recipe 
which  he  declared  he  was  going  to  try  out. 

By  that  time  the  'mike'  was  waiting  for 
him  and  we  trudged  up  the  line. 

"Look  at  Conrad  (Conrad  Nagel)  taking 
a  snooze  in  his  car,"  laughed  Ray.  There 
was  the  dignified  Mr.  Nagel,  oblivious  to 
the  world  or  what  it  was  doing,  as  snug 
as  a  bug  in  a  rug  in  his  little  Ford  coupe 
which  he  had  driven  up  himself. 

Irving  Asher  told  me  an  amusing  thing 
that  had  happened  at  the  studio  the  day 
before.  Irving  is  Mervyn  Le  Roy's  second 
assistant  and  for  awhile  he  had  been  Gen' 
eral  Manager  of  the  British  Line  pictures 
in  England.  "You  know  how  young 
Mervyn  appears,"  he  said.  "After  he  has 
had  a  hair  cut  he  looks  about  nine,  and 
people  go  about  giving  him  sticks  of  candy 
■ — -well,  yesterday  someone  from  the  pub' 
licity  department  brought  a  lady  on  the 
set  and  when  she  was  introduced  to  Mervyn 
she  beamed  upon  him  and  said,  'And  what 
is  your  job  on  this  picture?'  " 

"Tell  her  about  Ah  Yet,"  grinned  Mer' 
vyn  over  his  field  microphone. 

"See  that  Chinaman  over  there?"  asked 
Irving.  "He  worked  with  the  gang  in  the 
studio  and  for  these  scenes  up  here  Mer- 
vyn wanted  another  face.  His  name  is 
Ah  Yet.  I  told  him  he  was  through  and 
asked  the  casting  director  to  send  me 
another  Chinaman.  He  sent  Young  Foo. 
When  Young  Foo  appeared  it  was  Ah  Yet! 
'How's  this?'  I  asked.  'Young  Foo  was 
engaged  for  this  location.'  Ah  Yet  grin- 
ned broadly.  'Me  Young  Foo.  Me  have 
two  names — get  plenty  work  that  way!'  " 

Mervyn  and  Ray  and  the  rest  of  the 
troop  were  on  their  way  down  to  the  bot- 
tom of  the  ravine  where  a  couple  of  par' 
allels  had  been  erected  for  lights  to  help 
the  cameras  do  their  stuff  in  a  shady  place. 
The  job  was  for  the  prisoners,  at  a  given 
signal,  to  run  up  the  steep  two-hundred- 
foot  bank. 

"Say,"  puffed  one  of  the  men  after  the 
fourth  sprint,  "a  little  of  that  goes  a  long 
way.  I  won't  get  my  wind  back  till  next 
year." 

The  next  shot  was  of  Ray  driving  a 
pair  of  mules  down  the  road  and  Conrad 
Nagel  checking  up  on  each  of  the  gang 
who  were  working  with  pickaxes.  Conrad 
was  already  on  the  job,  having  sensed,  like 
the  good  trouper  he  is,  that  his  scene  was 
approaching.  "Mervyn,"  he  said  with  a 
twinkle  in  his  eye,  "you're  going  to  have 
Coop  carry  that  boulder  up  the  hill,  aren't 
you?"  'Coop'  being  George  Cooper,  who 
plays  Happy. 

"Sure  thing,"  grinned  Mervyn.  "Right 
up  to  that  tuft  of  sage  on  the  top  of  the 
hill,  George,  see?  Be  careful  not  to  let  it 
roll  backwards  on  you." 

George  Cooper  put  the  little  red  danger 
flag  he  was  carrying  under  his  left  arm 
and  started  flexing  the  muscles  of  his  right. 
"Mr.  Nagel,  I  take  it,  picked  that  job  out 
for  me,"  he  threatened  darkly. 

"I  presume  you  picked  out  the  job  of 


carrying  the  little  red  flag  for  yourself," 
razzed  Conrad,  "when  all  your  friends  were 
laboring  with  pickaxes  and  shovels." 

"Why  not?  I  have  always  been  told  to 
use  brain  instead  of  brawn!" 

It  really  was  the  craziest  location  I  have 
ever  been  on.  Because  of  the  narrowness 
of  the  road,  chairs  were  balanced  on  the 
very  edge  of  the  ravine  and  "the  camera 
parallels  were  built  two  or  three  feet  out 


Bernice  Claire  in  a  tense  scene 
from    the   prison   drama,  "Num- 
bered Men." 

beyond  it.  My  chair  started  a  downward 
trip  and  while  a  couple  of  boys  made  a 
grab  for  it  Irving  Asher  shouted,  "Never 
mind  if  you  do  go  over.  The  quicksand 
is  nice  and  soft  below!" 

"What!  Do  you  mean  to  tell  me  you 
have   quicksand   up   here?"     I  screeched. 

"No  foolin'!  There's  a  rift  fifteen  feet 
long  and  ten  feet  wide  right  down  there." 

"But  it's  only  three  feet  deep,"  smiled 
Carleton  B.  Scott,  assistant  Captain  of  the 
detention  camp.  As  Ray  looked  down  at 
the  quicksand  a  rock  started  to  slide  with 
him  which  might  have  given  him  a  toss 
because  it  was  a  sheer  drop  right  at  that 
point. 

"Hey,  wait  a  minute,  Ray,"  chaffed 
Mervyn  Le  Roy.  "We  need  you  a  couple 
of  weeks  longer.  It  you  must  fall  off  a 
cliff,  do  it  on  a  Metro-Goldwyn-Mayer  pic- 
ture." Both  Ray  and  Conrad  Nagel  were 
loaned  by  Metro  to  First  National  for  the 
"Numbered  Men"  picture. 

I  was  disappointed  not  to  find  Bernice 
Claire  on  the  location.  A  change  in  the 
script  took  her  out  of  the  action  and  gave 
her  two  days'  vacation.  "But  I  had  to 
have  a  costume  fitted,  my  hair  shampooed 
and  my  picture  taken,  so  I  was  pretty  busy 
anyway,"  this  newest  of  the  Warner 
Brothers'  finds  told  me  later.  Bernice  is 
little  and  has  a  most  engaging  personality. 
Her  face  is  very  changeable  in  expression. 
Sometimes  she  looks  like  a  little  girl  who 
is  listening  with  much  interest  to  a  con- 
versation  among  her  elders.     There  is  a 


mysterious,  mystic  quality  to  her  eyes 
difficult  to  explain.  There  is  a  turbulence 
about  them,  not  of  dissatisfaction,  but  as 
th  ough  a  million  different  ideas  were  crowd- 
ing into  her  mind  seeking  for  expression 
and  she  didn't  know  which  one  to  clear 
up  first. 

Mervyn  Le  Roy  thinks  Bernice  has  a 
great  future.  "I've  directed  embryo  wows 
before — Colleen  Moore  and  Alice  White 
were  two  of  them — and  this  girl  has  some- 
thing. Besides  a  singing  voice  of  unusual 
warmth  and  beauty  she  has  dramatic  ability 
that  will  adapt  itself  to  a  range  of  parts. 
And  that  adaptability  is  not  to  be  sneezed 
at  by  any  studio." 

Captain  Scott  of  the  detention  camp  told 
me  a  little  about  the  prisoners.  "There 
are  two  good  ways  to  win  a  man:  one  is 
through  his  heart  and  the  other  through 
his  stomach.  We  try  both  ways.  We  give 
the  men  excellent  food  and  treat  them  as 
kindly  and  with  as  much  understanding  as 
we  are  capable  of.  When  their  day's  work 
is  done  the  men  play  cards,  read  or  listen 
to  the  radio.  They  are  all  on  their  honor 
up  here  and  we  seldom  have  any  trouble 
with  them." 

The  'mike'  had  been  acting  up  because 
of  a  stiff  wind  that  made  us  all  hang  on 
to  our  belongings.  Poor  little  Marie  Bran- 
ham,  the  script  clerk,  had  a  terrible  cold 
and  was  vainly  trying  to  keep  her  nose  in 
place  as  well  as  manage  the  books  and  pen- 
cils and  stop  watches  necessary  to  her  work. 
While  another  'mike'  was  being  rigged  up 
we  looked  about  the  landscape  a  bit. 

"A  nice  drink  of  water  wouldn't  go 
badly  at  this  time,"  said  Mr.  Le  Roy. 

"Water  for  Mervyn  Le  Roy,"  announced 
an  assistant  through  the  field  'mike'  which 
was  relayed  to  the  loud  speaker  stationed 
down  by  the  trucks.  In  a  few  minutes  a 
'grip'  appeared  with  a  five  gallon  bottle  of 
spring  water  on  his  shoulder. 

"Did   you   bring  a  canoe  along,  too?' 
grinned  Irving  Asher. 

"Did  you  ever  try  to  fill  one  of  those 
paper  cups  from  a  five  gallon  bottle?" 
asked  Mervyn.  "Try  it  sometime.  It's  a 
stunt." 

The  loud  speaker  had  been  thundering 
in  our  ears  picking  up  the  conversation 
going  on  between  the  men  at  work  on  the 
crippled  'mike,'  and  now  it  began  to  record 
drama.  "Well,  I'm  not  saying  you're  not 
right.  But  we  didn't  expect  this  thing  to 
go  on  the  bum,  did  we?" 

"If  you're  going  to  have  an  argument, 
turn  off  the  loud  speaker,"  laughed  Irving 
Asher. 

We  had  our  box  lunches  sitting  about 
in  cars.  Conrad  Nagel  had  brought  his 
own  sandwiches  but  ours  were  very  good, 
chicken  on  whole  wheat  bread,  a  tasty  jelly 
roll,  fruit  salad,  a  bottle  of  milk  or  hot 
coffee  and  a  small  box  of  sardines  if  any 
one  wanted  them,  but  nobody  did.  Ray- 
mond Hackett,  Mervyn  Le  Roy,  Bernie 
Williams  (my  escort  from  the  publicity  de- 
partment) and  Frederick  Howard  filled 
Mervyn's  car  to  overflowing  and  later  Ray 
sat  on  the  running  board  of  Conrad  Nagel's 
car  to  have  their  pictures  taken  for  this 
story. 

It  always  amuses  Mervyn  Le  Roy  when 
people  tell  him  he  looks  like  a  kid.  "I'm 
not  such  a  kid.  I'm  twenty-nine.  And  I 
began  working  when  I  was  eleven  selling 
newspapers  in  San  Francisco.  That's  a 
good  start  for  any  youngster.  You  learn 
what  things  you  are  up  against  in  the  world 
of  competition,  and  you  understand  how 


for     May  1930 


109 


to  get  a  chance  to  do  the  things  you  want 
to  do  later.  You  don't  have  to  go  to  college 
to  acquire  a  well  rounded  education,  but 
while  you  are  in  college  the  other  boys 
are  getting  ahead  of  you.  I  know  one 
Harvard  graduate  who  is  glad  to  have  a 
chance  to  sell  shoes,  and  that  wasn't  what 
he  had  been  trained  to  do  in  college!  I 
have  nothing  against  colleges  but  it  seems 
to  me  that  they  are  not  properly  organized 
when  they  turn  out  so  many  young  men 
with  nothing  to  fit  them  in  their  struggle 
to  get  on  in  the  world.  They  may  be  far 
more  capable  of  holding  jobs  than  many 
who  hold  them,  but  they  don't  know  how 
to  get  a  foothold  because  they  don't  know 
life  or  human  nature.  We  could  use  a 
lot  of  college  men  in  various  branches  of 
pictures  and  there  are  a  lot  of  college  men 
in  pictures,  but  a  good  many  of  them  are 
not  getting  the  breaks  they  should." 

When  Mervyn  decided  he  wanted  to 
be  a  director  he  gave  himself  five  years  and 
at  the  end  of  four  he  was  directing.  He 
wants  sometime  to  do  a  great  dramatic 
picture,  not  such  a  great  plot  but  oppor- 
tunity for  carefully  worked  out  detail  and 
business.  "You  know,  one  of  those  'artis- 
tic successes,'  "  he  kidded  himself. 

During  the  afternoon  they  worked  with 
dynamite  which  made  me  a  bit  nervous 
until  I  saw  one  of  the  real  prisoners  coming 
down  the  hill  with  a  box  of  it  balanced 
on  his  shoulder  and  one  of  our  men  said, 
"Gee  whiz,  boys!  There  comes  the  real 
stuff  sauntering  down  the  path.  One  slip 
and  we  needn't  worry  any  more  about  rent 
and  taxes." 

"Now  when  I  give  the  signal  for  the 
blast,  all  you  boys  throw  down  your 
shovels  and  get  out  'of  sight,"  directed 
Mervyn.  "Ah  Yet,  Young  Foo  and  all 
the  rest  of  the  names  you  employ,  that 
means  you." 

"Some  of  those  guys  would  rather  be 
blown  up  than  hurry,"  philosophized  a 
'grip'  solemnly. 

Mervyn  kept  razzing  Bernie  Williams 
because  he  wore  one  of  the  berets  that 
have  become  so  popular  out  here.  Next 
day  Mervyn  appeared  in  something  that 
looked  like  a  cross  between  a  beret  and  a 
fireman's  hat.  "Just  look,"  cried  Bernie 
indignantly,  "what  Mervyn  has  the  nerve 
to  wear  today  after  what  he  .said  to  me 
yesterday  about  my  beret." 

The  second  day  everything  went  quickly 
except  when  they  had  to  build  a  parallel 
over  the  side  of  the  cliff  to  hold  the  cam- 
eras. The  mixer  declared  the  second  shot 
of  one  scene  to  be  N.G.  Sound  is  the 
ruling  power  in  the  studios  now.  If  that 
is  okay,  it  goes.  "Darn  the  luck,"  wailed 
Sol  Polito,  chief  cameraman.  "He  would 
N.G.  that  when  it  was  a  good  shot  for  me." 

Earl  Sitar,  chief  of  the  sound  equipment, 
told  me  that  although  it  was  more  difficult 
to  make  sound  pictures  out  of  doors  the 
recording  was  better.  A  hard  floor  makes 
echoes;  if  it  is  padded  it  gives  too  much; 
but  the  ground  absorbs  all  foreign  sounds 
and  gives  a  clearer  result. 

As  we  drove  home  Mervyn  said  how 
extraordinary  was  the  effect  a  well-directed 
picture  had  upon  him.  "If  I  see  a  poorly 
made  picture  I  think,  'there  is  still  room 
for  me.'  Every  time  I  see  a  Lubitsch  pic- 
ture I  want  to  hire  out  as  a  laborer."  Ray- 
mond Hackett  laughed  and  said  he  felt  the 
same  way  about  acting.  When  he  sees 
Jannings  or  Arliss  or  any  performance  that 
is  really  outstanding  in  artistry  he  glories 
through  the  seeing  of  it  and  then  begins 
thinking  out  a  nice  easy  way  to  commit 
suicide. 

"Well,  you  needn't  hang  your  head," 
said  Mervyn  to  Ray.     "That  performance 


Do  you  know 

Kotex  is  inconspicuous 

under  close-fitting  gowns? 


The  lasting  softness,  the  fact 
that  it  deodorizes,  are  other 
reasons  you  will  like  Kotex. 

YOU  can't  imagine  what  a  relief  it 
is  to  know  that  your  sanitary  pro- 
tection is  inconspicuous,  that  it  is  fash- 
ioned to  fit  correctly,  leaving  no 
revealing  outlines.  This  is  just  one  of 
the  many  reasons  why  smart  women 
prefer  Kotex.  Then,  too,  it  deodorizes, 
and  gives  a  feeling  of  perfect  dainti- 
ness. It  is  soft— a  lasting  kind  of  soft- 
ness that  means  comfort  through  hours 
of  wear.  It  won't  bulge  or  twist  about 
because  it's  made  scientifically  to  answer 
your  needs  in  every  respect. 

Made  of  remarkable  material 
Kotex  is  so  wonderfully  comfortable 
because  it  is  made  of  Cellucotton  (not 
cotton)  absorbent  wadding  .  .  .  the 
same  material  that  is  used  today  by  85% 
of  America's  leading  hospitals.  This 
is  a  cellulose  substance  that  performs 
the  same  function  as  the  softest  cotton 
with  five  times  the  absorbency. 

You'll  appreciate  this  feature  of 
Kotex  :  it  doesn't  have  to  be  worn  a  cer- 
tain way.  Either  side  of  the  pad  gives  the 


KOTEX  IS  SOFT .  .  . 

1  Not  a  deceptive  softness,  that 
soon  packs  into  chafing  hardness. 
But  a  delicate,  lasting  softness. 

2  The  Kotex  filler  is  far  lighter 
and  cooler  than  cotton,  yet  ab- 
sorbs 5  times  as  much. 

3  In  hospitals...  The  Kotex  ab- 
sorbent is  the  identical  material 
used  by  surgeons  in  85%  of  the 
country's  leading  hospitals. 

4  Disposable,  instantly,  com- 
pletely. 

Regular  Kotex— 45c  for  12 
Kotex  Super -Size— 65c  for  12 
Or  singly  in  vending  cabinets  through 
West  Disinfecting  Co. 

Ask  to  see  the  KOTEX  BELT  and 
KOTEX  SANITARY  APRON  at  any 
drug,  dry  goods  or  department  store. 


same  complete,  comfortable  protection. 

And,  of  course,  the  reason  most 
women  first  used  Kotex  is  this:  it  is 
disposable,  instantly,  readily.  That, alone, 
has  made  a  difference  in  the  hygienic 
habits  of  women  all  over  the  world. 
There  are  other  advantages  which  you 
will  discover  for  yourself,  once  you  use 
Kotex.    Kotex  Company,  Chicago,  111. 

K  O  T  e  X 

The  New  Sanitary  Pad  which  deodorizes 


110 


SCREENLAND 


you  gave  in  'Mary  Dugan'  was  one  of  the 
finest  I  have  ever  seen  on  any  stage  or  any 
screen." 

By  the  way,  this  picture  used  to  be  called 
"Jailbreak"  and  the  new  title  is  from  the 
fertile  brain  of  the  director.  Mervyn  is 
very  careful  about  dialogue,  too. 

"You  have  to  watch  dialogue  like  a 
hawk,"  he  said.  "A  perfectly  common- 
place sentence  will  seem  unbelievably  funny 
when  spoken  on  the  stage  or  screen.  Ber- 
nice  had  a  line  that  would  have  brought 


down  the  house  had  I  not  changed  it.  A 
laugh  at  that  dramatic  point  in  the  pic- 
ture would  have  ruined  the  whole  scene." 

When  you  see  "Numbered  Men"  look 
for  the  doughnut  scene.  Those  doughnuts 
were  real,  and  great  was  the  joy  of  the 
staff  when  scenes  had  to  be  taken  over 
three  or  four  times  and  more  and  more 
doughnuts  were  forthcoming.  Everyone  on 
the  set  was  getting  a  break  but  the  men  in 
the  world  above  the  scenes.  It  is  called 
the  flies  in  the  theater;  I've  just  forgotten 


the  studio  term  for  it.  The  men  up  there 
looked  hungrily  on  until  they  couldn't 
stand  it  any  longer.  Bernice  Claire  began 
to  rub  her  eyes  thinking  she  must  be  dream- 
ing when  she  saw  a  nice  brown  doughnut 
rise  from  the  plate  on  the  stove  toward  the 
ceiling.  "I  knew  they  were  good,  but  not 
that  good,"  she  told  us  afterwards.  But 
there  was  nothing  supernatural  about  the 
phenomenon,  just  that  an  electrician  had 
let  down  a  string  and  a  real  pal  had  tied 
a  doughnut  on  the  end  of  it. 


The  Stage  in  Review  —  Continued  from  page  97 


toe  to  toupee  and  that  the  swellest  sophis- 
ticate and  the  omnipotent  Olympian  of 
them  all,  George  Jean  Nathan,  had  fairly 
cracked  his  belly  over  "June  Moon,"  by 
Ring  Lardner  and  George  S.  Kaufman,  I 
naturally  expected  to  do  the  same,  for  I 
am  hard-boiled,  a  sophisticate  and  some- 
thing of  an  Olympian. 

But  I  didn't.  I  was  amused  at  his  some- 
what caustic  satire  on  Tin-Pan  Alley,  its 
thrust  at  Gershwin,  its  slick  unpeeling  of 
the  hokum,  the  illiteracy  and  moronity  of 
these  purveyors  of  the  most  sickening  rub- 
bish that  ever  got  the  name  of  'music'  and 
'song'  tagged  on  to  it — but  I  did  not  get 
that  laugh-bawling  evening  that  I  had  hoped 
for.     Probably  because  I  am  an  idealist. 

Mr.  Lardner's  characterizations  however, 
are  fine.  These  men  and  women  of  Hokum 
Avenue  really  live  and  talk  and  act  natu- 
rally. The  story  is  negligible.  If  I  could 
remember  what  it  is  about,  I'd  have  my 
head  examined.  It's  a  clean,  honest  show, 
too,  Linda  Watkins,  Harry  Rosenthal,  Nor- 
man Foster  and  a  perfect  supporting  cast 
aiding  the  chuckles  and  light  hilarity. 

"Josef  Suss" 

This  is  a  glamourous,  all-scenic,  melo- 
dramatic vision  of  Lion  Feuchtwanger's 
"Power,"  a  book  which  I  have  not  read. 

The  story  concerns  the  rise  of  a  Jew 
named  Joseph  Suss  at  the  court  of  Karl 
Alexander  back  in  the  minuetting,  pirouet- 
ting eighteenth  century.  The  drama  pivots 
on  the  fact  that  while  race-venemous  Suss 
to  gain  the  highest  peak  of  power  at  Karl's 
court  has  even  become  a  procurer  for  his 
boss,  the  latter  has,  through  the  connivance 
of  the  father  of  the  girl  he  has  procured 
for  Karl,  tried  to  seduce  Suss'  own  beloved 
daughter,  who  commits  suicide  rather  than 
submit.  Suss  in  revenge  encompasses  the 
downfall  of  the  Duke  and  his  own  death. 

Maurice  Moscovitch  as  Suss  is  a  new- 
comer to  the  American  stage.  He  is  an 
impressive,  eloquent  actor  of  the  old  school, 
but  lacks  subtlety  and  doesn't  dig  under. 
He  reached  the  tragic  grand  manner  in 
his  scene  over  the  body  of  his  daughter, 
and  throughout  the  play  enacted  with  dig- 
nity and  cold-blooded  assurance  the  role 
of  an  aristocratic  Shyloc\. 

"Joseph  Suss"  is,  however,  just  "The 
Merchant  of  Venice"  and  "The  Fool's 
Revenge"  done  over  again.  Ashley  Dukes 
did  the  stage  version  and  a  good  company 
surrounds  Mr.  Moscovitch.  There's  a  big 
costume  picture  in  it,  however. 

"Many  A  Slip" 

This  comedy  gave  me  many  laughs  and 
quite  a  few  smiles.  Of  course,  it  will  re- 
mind you  of  "It's  a  Wise  Child,"  at  the 
Belasco,  which,  as  you  know,  is  built  around 
the  new  comedy  theme  called  'Ha!  Ha! — 


I'm  about  to  become  a  mother!'  Nothing 
so  indicates  the  way  we  have  'advanced' 
since  the  war  than  the  way  we  kid  the 
work  of  begetting  kids. 

"Many  a  Slip,"  by  Edith  Fitzgerald  and 
Robert  Riskin,  is  not  only  just  comic; 
it  hits  a  really  pathetic  note  in  the  at- 
titude of  the  Young  Feller  when  he  finds 
he  has  been  tricked  into  marriage  in  the 
belief  that  there  is  a  baby  on  the  way. 
He  was  a  ninny-idealist  and  didn't  believe 
in  marriage.  But  when  he  Hears  the  News 
he  develops  over-night  a  regular  paternal 
instinct,  buys  toys,  gets  married,  and  all 
the  rest — only  to  find  he  has  been  bilked 
in  the  manner  that  thousands  of  the 
Daughters  of  Eve  used  to  put  it  over  on 
the  Midnight  Sons. 

But  in  order  to  end  this  little  play  nicely, 
a  baby  does  get  on  the  way,  thanks  to  the 
authors  and  the  demands  of  the  box  office. 
Sylvia  Sidney  is  the  fair  snarer,  with  Dor- 
othy Sands  and  Maude  Eburne  as  a  servant 
doing  splendid  work.  The  sap  was  Douglas 
Montgomery. 

"The  Boundary  Line" 

"The  Boundary  Line,"  by  Dana  Burnet, 
featuring  Otto  Kruger,  Winifred  Lenihan 
and  Katherine  Alexander,  contains  some  of 
that  substance  as  rare  in  the  theater  as 
radium  is  in  the  world  of  matter:  Beauty. 
As  a  play  it  is  distinctly  out  of  Ibsen; 
therefore  old-fashioned  (while  Ibsen  is  not). 
For  imitation  is  the  sincerest  form  of 
failure. 

"The  Boundary  Line"  tells  the  story  of 
a  high-brow  bohemian  writer  married  to  a 
commonplace,  cash-down  wife  and  his  slid- 
ing degradation  till  he  reaches  riches  and 
the  sinks  of  worldly  success  in  two  bath- 
rooms. He  can  no  longer  stand  the  stench 
of  respectability  and  babbittry  that  emanates 
from  this  town  up-State  and  so  leaves  his 
tea-daffy  wife  to  her  canned-brain  lover  and 
takes  a  shirt  and  a  toothbrush  and  follows 
some  nuts  from  Hollywood  who  are  going 
west  on  the  Open  Road. 

It's  all  meant  to  be  symbolical,  and  the 
moral  is — it's  better  to  be  free  in  Hell 
than  a  slave  in  Heaven  (curtain). 

Somehow,  the  whole  thing  didn't  jell 
with  me,  although  I'm  all  for  rebellion — 
that  is,  I  was  before  I  got  bald-headed.  It's 
Mr.  Burnet's  fault.  With  all  his  ingenuity, 
he  can't  do  a  Pop  Ibsen.  There  was  only 
one. 

"Out  Of  A  Blue  Sky" 

What  came  out  of  Leslie  Howard  "Out 
of  a  Blue  Sky"  (adapted  from  a  German 
imitation  of  Pirandello's  "Six  Characters 
in  Search  of  an  Author,"  "Pagliacci,"  "The 
Spider,"  etc.)  was  plainly  Reginald  Owen's 
funny  portrayal  of  an  actor  drafted  from 
the  audience  to  play  a  stage  husband  to  a 


company  also  suddenly  drafted  from  the 
audience  because  there  was  a  misunderstand- 
ing about  the  production  of  "Camille"  that 
night. 

It  all  sounded  and  looked  phony  to  me 
from  the  minute  the  curtain  rose  on  an 
unset  stage  with  the  stage  hands  playing 
poker  and  the  stage  manager  running 
around  mad.  For  two  acts  a  triangle  play 
is  played  within  a  play,  for,  in  the  audience 
were  a  husband,  his  wife  and  the  lover, 
and  while  the  husband  believes  he  is  only 
acting,  the  wife  and  lover  are  pulling  off 
the  real  thing. 

Well,  as  Mons.  Ripley  says,  'Believe  it 
or  not.'  The  whole  business  was,  to  me, 
inane,  although  Katherine  Wilson  is  a  stun- 
ning looker. 

"It's  A  Grand  Life" 

They  threw  a  lot  of  dice  and  decided 
that  Mrs.  Fiske  should  be  the  star  in  "It's 
a  Grand  Life,"  by  Hatcher  Hughes  and 
Alan  Williams.  She  plays  an  elderly  wife 
who  has  got  on  her  hands  some  hell  of 
a  family:  a  libido-crazy  husband,  a  daughter 
that  my  grandma  used  to  call  'abandoned' 
and  a  son  whose  highest  flight  is  a  dancer. 
Enter  our  only  living  ex-Tess! 

I  do  not  know  what  kind  of  a  picture 
this  thing  will  make,  but  it's  certainly  a 
roisterous,  skylarking  bit  of  up-to-date  sex- 
scrapery  and  sophisticated  blow-outs.  But 
Mrs.  Fiske  is  the  show.  She's  gayer,  snap- 
pier, quicker,  more  chablis  mousseux  than 
ever.  The  way  she  receives  the  reporters! 
— but  you  must  really  see  her,  for,  you 
know,  the  play  is  no  longer  the  thing. 
Who's  in  it  is  the  only  thing  of  importance. 
All  fine  drama  and  comedy  have  almost  dis- 
appeared from  Broadway. 

"Everything's  Jake" 

Don  Marquis  has  a  line  of  satire  that  is 
absolutely  his  own.  This  curious  Mar- 
quisian  line  comes  out  again  in  his  latest 
comedy,  "Everything's  Jake,"  which  is  in 
a  prologue  and  three  acts. 

Once  more  we  meet  the  Old  Soak,  Al 
and  a  new  alcoholic  cheer-leader  in  ]a\e 
Smith,  who  is  a  rich  Long  Island  boot- 
legger. ]a\e  takes  his  family  and  his  cronies, 
Clem  and  A!,  to  Paris  with  him,  and  here 
we  have  some  hilarious  booze-jinks  at  the 
tables  in  the  Boulevard. 

A  long  list  of  first-rate  players  center 
around  Charles  Kennedy  as  the  Old  Soa\ 
and  Thurston  Hall  as  ]a\e  and  Edward 
Donnelly  as  AI.  A  woman  tries  to  vamp 
]a\e  in  Paris — here's  where  the  drama  slips 
in.  It  all  ends  as  merrily  as  you  could 
expect. 

Don  Marquis  has  already  put  over  his 
"The  Old  Soak"  and  "The  Cruise  of 
the  Jasper  B."  in  pictures.  "Everything's 
Jake"  would  make  a  good  third  as  a  laughie. 


"Kleenex  is  so  dainty  for  re- 
moving make-up!  Nothing  else 
seems  really  clean  and  sanitary 
after  one  has  used  these  absor- 
bent little  tissues." 

Brilliantstarof  theR.  K.  0.  productions, 
"Street  Girl"  and  "  The  Case  of  Ser- 
geant Grischa." 


Kle  enex    comes    in    three    safe,    lovely    tints  —  and  white 

eenex 
is  safest  to  remove 
cold  cream 

It  s  trie  sure  w^ay  to  free  your  pores  of  dangerous  dirt 
and  grime  .  .  .  witliout  stretching  or  irritating  skin 


for     May     19  3  0 

Polly  Moran 

Continued  from  page  63 

is  gone.  One  may  be  old  at  sixteen  or 
young  at  eighty.  That's  our  philosophy. 
No,  I'm  not  trying  to  win  a  nomination 
for  a  1930  Baby  Star  either  for  myself  or 
Polly. 

That  Polly!  Impractical,  adorable  fe- 
male  Pagliacci!  She  covers  her  wounds 
with  a  laugh. 

Everyone  loves  Polly.  Not  just  the 
thousands  and  thousands  she  has  made 
laugh  across  the  footlights  or  from  the 
screen — but  all  professionals. 

I  happen  to  know  that  many  stars  whom 
the  public  adore  are  cordially  disliked  in 
intimate  Hollywood  circles.  Not  so  with 
Polly.  She  makes  a  hit  with  her  own 
kind,  always. 

She  is  always  wondering  which  one  of  the 
many  weekend  invitations  she  can  accept 
without  hurting  some  one's  feelings.  And 
when  our  genial  Irish  Polly  accepts  a  bid 
you  can  know  she  has  turned  down  about 
six  others.  And  always,  she  leaves  her 
cares,  troubles,  and  dignity  at  home.  She 
bubbles  like  a  veritable  joke  geyser — always 
dynamic,  always  moving  about,  never  still 
for  a  moment  and  always  the  clown. 

That's  why  Polly  Moran  is  one  of  the 
most  popular  stars  in  Hollywood  and  one 
of  the  most  popular  on  the  screen :  be- 
cause she  has  a  big  heart,  a  big  minjd, 
and  a  talent  for  laugh-making.  Not  only 
that,  she  has  the  quickest  brain  in  the 
picture  business.  That  girl  is  never  at  a 
loss  for  a  line. 

She  has  saved  more  situations  by  her  wit 
than  anybody  I  ever  heard  of.  Polly 
Moran  is  the  greatest  comic  I  know. 


Marie  Dressier 

Continued  from  page  62 

standing  invitation  awaits  Marie  at  the 
finest,  most  exclusive  estate  in  the  country 
any  time  she  wants  to  accept. 

And  say!  You  ought  to  see  Miss  Dressier 
off-stage,  all  dressed  up — dignified,  sedate, 
the  perfect  picture  of  a  swell  society  dame. 
But  there's  always  the  'comic'  behind  this 
well-poised  manner  and  she  sneaks  up  on 
you  with  a  laugh  when  you  least  expect  it. 

Funny?  Ever  since  the  days  of  "Tillie's 
Punctured  Romance"  Marie  has  been  the 
funniest  thing  in  pictures.  And  she  gets 
funnier  all  the  time.  Did  you  ever  see 
what  she  can  do  with  a  hat?  That's  all 
the  props  she  needs.  A  hat,  as  Ted  Lewis 
says,  anybody's  hat — even  her  grand- 
mother's. And  that  face!  I  feel  like  no- 
body when  I'm  in  a  scene  with  her.  I 
thought  I  could  mug.  But  that  rubber  face 
of  hers  makes  me  look  like  Dead-Pan 
Keaton  when  I'm  in  a  close-up  with  her. 
All  she  has  to  do  is  make  the  slightest 
grimace  and  everyone  else  in  the  scene 
fades  right  out  of  the  picture. 

I  love  to  work  with  Marie.  She  is  really 
a  genius  and  I  am  honest  enough  with  my- 
self to  know  I  never  could  approach  her 
greatness.  I  consider  myself  lucky  to  drag 
along  with  her,  no  matter  how  far  behind 
she  leaves  me.  I  know  this  comedy  busi- 
ness, certainly,  but  when  it  comes  to  the 
real  touch — well,  did  you  see  that  scene 
of  Marie's  in  "The  Hollywood  Revue?" 
Funny,  wasn't  it?  And  did  you  see  her 
in  "Anna  Christie?"  That  wasn't  funny, 
but  to  me  it  was  the  finest  piece  of  acting 
I've  seen.  I'm  a  comic;  but  Marie,  she's 
everything! 


NEVER  use  germ-laden  cloths  to 
remove  cold  cream!  Kleenex  is 
the  clean,  the  safe  way.  These  delicate 
tissues  are  so  very  soft  and  absorbent 
they  just  blot  up  the  surplus  cold  cream, 
along  with  any  lingering  dirt  and  cos- 
metics. The  pores  are  left  really  clean. 

And  immaculate  cleanliness  is  the  first 
rule  of  beauty  care.  Bacteria,  you  know, 
start  most  complexion  troubles,  such  as 
pimples  and  blackheads.  And  bacteria 
thrive  on  dirt. 

There's  still  another  way  in  which 
Kleenex  protects  your  skin.  Because  of 
its  amazing  absorbency,  Kleenex  makes 
hard  rubbing  unnecessary  . . .  the  rubbing 
that  beauty  experts  believe  an  important 
cause  of  large  pores  and  wrinkles. 
You'll  find  Kleenex  invaluable  for 


handkerchief  use,  especially  for  colds 
and  hay  fever.  Use  a  fresh,  clean  tissue 
each  time,  then  discard  it.  Thus  you 
prevent  infection  .  .  .  save  laundry  .  .  . 
and  avoid  reinfection  from  cold  germs. 
Ask  for  Kleenex  at  drug  and  depart- 
ment stores. 

Kleenex 

TO  REMOVE  COLD  CREAM 

Kleenex  Company,  Lake-Michigan  Building, 
Chicago,  Illinois.  SL-5 
Please  send  a  sample  of  Kleenex  to: 

Name  

Address  

City  


SCREENLAND 

Hollywood  Haters—  Continued  from  page  21 

Another  New  Yorker,  one  of  the  old  whatever  they  may  have  upon  the  desert 

Knickerbocker  families  from  Terre  Haute,  air  of  kitchens,  ribbon-counters,  the  rear 

Ind.,   declared  that  the  whole  town  was  ends  of  trolley  cars  and  rush-hour  subway 

just  a  movie  set,  and  that  some  day  they'd  crowds.     But  Hollywood  has  given  them 

'strike'  it  and  move  on  to  another  location,  luxury  beyond  even  a  J.  P.  McEvoy  dream. 

Even  Jack  Dempsey,  himself,  associates  Hoi-  It  has  lavished .  upon  them  great  estates, 

lywood  with  hollyhocks,  and  will  tell  you  mile-long  motor-cars,  all  that  wealth  may 

that,  in  his  estimation,  they  both  belong  bring  to  beauty.    And  beside  this,  in  many 

in  the  same  vicinity.  cases,  the  health  to  enjoy  a  life  crowded 

That   eminent  French  sex-appealist,  M.  with  good  things. 

Adolphe  Menjou,  is  louder  than  you'd  think  Then  why  the  hate  for  Hollywood?  Is 

he    could    be    in    vocalizing    vituperations  it  a  pose?     One  wonders.     The  question 

against  Hollywood — its  words  and  deeds,  asked   the  answer  is   generally  the  same, 

its  players  and  producers,  its  yes-men  and  There  is  no  cultural  influence.    They  miss 

no-girls,  its  cinema  and  its  climate.    When  the  theater  so.    The  opera.    Art.  Mental 

he  finishes,  one  is  almost  convinced  that  stimulation.    Night  Clubs.    The  discussion 

he  doesn't  like  Hollywood.  of  painting  and   sculpture  and  literature. 

Just  recently  J.  P.  McEvoy  had  a  bad  And  again  one  wonders, 

dream   for   Screenland.     It   was   that   his  One  star  was  reeling  off  the  ritual  with 

slumbers  were  disturbed  by  a  night-mare  special  stress  on  the  literature  angle.  Sud- 

who   trotted   him  willy-nilly  back  to   the  denly  —  quick   like   that  —  the  questioner 

Sun-kissed  City.     Arthur  Caesar's  serpent  hurled  a  demand  at  her. 

tongue  is  never  done  hissing  Hollywood,  "Quickl'^he  snorted,  "give  me  the  name 

despite  the  fact  that  this  very  wit  of  his  °f  a  book! 

had  to  be  taken  West  for  appreciation,  and  The   Hollywood   Hater   stammered  and 

has  enabled  him  to  swop  a  sweat-shop  vista  stuttered  for  seconds  before  she  could  gasp : 

for  a  poppy-carpeted  patio.  The  Bible! 

The  eloquent  silence  of  Max  Reinhardt  .   Yet  ™th  „*}\  the  Jaults.  of  Hoboed 

and  William  Locke,  as  each  beat  his  dig-  11  's  \,hT    f  *  ch,armin)g  place'  ,  £?d 

■  /-j     ,.     t  i        j4.Lc.-c     <-<-■  with  all  the  sham  and  pretense  and  take 

nified  retreat  toward  the  Santa  re  station,  .  .       r         ,                    i      -u-  n  j 

.1          ..I          r  11     r  pining    for   culture,   even    the  Hollywood 

was  more  impressive  than  a  theater-full  ot  b               .  ,  ',,          ,  . 

loud  speakers     And  the  gutteral  thunder-  Waters  are  f od  *ell°™  whe"  {orf* 

t  -n    -1  t      •             11              c  *-\~  to  put  on  the  act.     lhey  still  punch  the 

ings  ot  tmu  Jannings,  really  one  ot  the  ■         1    i      i       t,        i          i_,            A  j 

o"  ii       -r,            j    n       a   \t             a  time  clock  when  the  whistle  blows.  And 

Brooklyn    JBoys,    and    Conrad    Veidt,   and  ^       .    c  u   j-             -i           j-  j 

n  i  .  v     •■        u                        i_  that  their  full  dinner  pails  are  diamond- 

Pola  Negri,  could  never,  never  have  re'  .         ,      ,                   "              ,     r- .. 

,    .if  '              r              i    r         „i  studded,    doesn  t    disguise    the  beet-stew 

ceived   the   stamp   ot    approval   from   the  ,  •  ,    . '    ,    •         ,     &    ,.  .  ...  r 

tt  ,,         ,  pi      5       r                     -rt.  which  is  their  probable  dietetic  preference. 

Hollywood  Chamber  of  Commerce.     Ihyra  „              j      \          i      r        ri  •' 

c     /     ,t7-    ,                        j       ■    .  ./  Even  the  delicatessen  shop-keeper,  happiest 

Samter  Wmslow,  more  scened  against  than  ,              ■«   ■  ■     \t     t           «■  i 

.    .       r        j  r                     •  1  ot  men,  will  loin  Mr.  Justice  Holmes  as 

scene-mg,  is  transformed  from  a  nice  girl  ,.     '           1 .    ,    .     .J   t,       ,  ■:. 

■r  j  '.                  .i  a    dissenter.     And   it   is   the  delicatessen 

to  personified  tantrum  at  the  mere  men-  ,    .             1v      ,  tt  h  , 

.    r   f  u  ,.i       m        ii-  ■  •     i    .1  streak  in  the  elite  of  Hollywood  society, 

tion  of  Malibu,  the  sub-division-by-the-sea  .   ,     ,     ..   .     ,      ,         '          .  ' 

■    ■                          ,                 '  that  leads  it  to  hand  the  movie  town  a 

as  it  is  poetically  titled.  .                   i  -  ,           . .  ^ 

r           '  razz  in  accents  which  sometimes  vary  the 

To  speak  of  Hollywood  to  Zita  Johann  broad  A's  with  the  patois  of  South  Brook- 

or  Eva  Von  Berne,  is  just  to  have  a  nice  Oomsk  or  Ceskoslovensko. 

evening  float  away  on  their  tears;  and  even  The  hating  of  Hollywood  is  just  a  part 

Alice  White,  a  New  Yorker  from  Paterson,  f  th    Bi    show    th    three-ring  circus  of 

N.  J.,  will  talk  longingly  about  the  Hudson  gold-lined  lavatories,  ermine  lap  robes  and 

tu^es-  ruby-stoppered  hot  water  bags.     It  is  all 

The  Hollywood  Haters  present  a  remark-  lots  of  fun,  and  not  to  be  taken  seriously, 

able  phenomenon.    Had  there  been  no  Hoi-  It  gives  the  boys  and  girls  something  to 

lywood  the  vast  majority  of  them  would  talk  about  after  a  hard  day's  grind  down 

have  lived  to  blush  unseen,  and  to  waste  at  the  factories. 

 7 . 

Gloria  Swanson  Psycho-Analyzed 

Continued  from  page  29 


112 


Famous  for  natural  color 

Whether  you  are  Jblonde,  brunette  or  titian 
the  one  lipstick  for  you  is  Tangee.  Unlike 
any  other  lipstick,  Tangee  changes  color 
the  moment  you  touch  it  to  your  lips.  And 
the  glow  that  it  gives  is  natural  to  you, 
no  matter  what  your  complexion. 

Tangee  is  made  on  a  solidified  cream 
base  so  that  it  not  only  beautifies,  but 
actually  soothes  and  heals.  Greaseless  .  .  . 
permanent  .  .  .  Tangee  keeps  lips  lovely 
all  day  long.  And  it  outlasts  several  of 
the  usual  lipsticks. 

Tangee  Lipstick  $1.  Rouge  Compact  75c. 
Creme  Rouge  $1.  The  new  Tangee  Face  Pow- 
der $1.  Night  Cream  $1.  Day  Cream  $1. 
Tangee  Cosmetic,  for  eyelashes,  brows  and  tint- 
ing the  hair  $1.  There  is  only  one  TANGEE. 
Be  sure  you  see  the  name  TAXGEE. 


SEND  20c  FOR  TANGEE  BEAUTY  SET 

(Six  [terns  in  miniature  and  "The  Art  of  Make-Up.") 

The  Georob  W.  Ltjft  Co.,  Dept.  S.  L.  5 
417  Fifth  Avenue  New  York 


Name  . 
Arid  ress 


after  victory  over  the  introverted  side.  She 
has  much  extraverted  feeling  and  intuition 
with  which  to  battle  her  moods,  her  dream- 
life,  her  tendency  to  be  'up  in  the  clouds.' 
But  having  such  opposite  things  in  her 
makes  for  crises  of  conflict,  inner  conflict, 
torn  by  opposing  forces,  and  for  this  rea- 
son she  lacks  the  one  remaining  thing  which 
is  the  gift  of  the  straight  extravert.  She  is 
not  practical,  save  in  her  work.  It  is  in 
her  work  that  she  wins  a  crucial  victory; 
but  outside  of  it  she  is  emotion,  affection, 
the  queen  who  orders  others,  the  actress. 

Most  people  who  amount  to  anything 
have  two  selves  that  almost  constantly  war 
on  each  other.  But  it  is  this  conflict,  this 
constant  need  to  have  more  strength  than 
the  run  of  people  so  that  you  may  conquer 
your  inner  enemy  as  well  as  the  world,  that 
wakens  ambition,  that  liberates  energy,  that 
is  a  sustaining  challenge  to  go  'onward  and 
upward.' 

Gloria  Swanson  is  a  self-made  woman. 
She  has  fought  tooth  and  nail  from  the 


obscurity  of  extra  parts,  and  with  the 
greatest  daring  and  courage  has  marked  her 
own  course  to  superiority  of  character  and 
world-fame.  She  gambled  her  whole  career 
on  being  her  own  producer,  and  almost 
went  under;  only  to  shine  in  victory  by 
an  even  greater  act  of  imagination  and 
daring.  "Rain"  was  banned  as  immoral; 
she  changed  the  name  to  "Sadie  Thompson," 
(which  seemed  somehow  to  lift  the  curse) 
and  rode  through  the  cities  of  the  world 
like  a  triumphant  procession.  And,  on  top 
of  this,  she  flowered  out  completely  as  one 
of  the  two  supreme  stars  of  the  day,  by 
meeting  the  challenge  of  the  talkies  not  only 
with  the  speaking  voice  but  with  the  sing- 
ing voice.  It  is  usually  a  cruelty  to  one- 
self to  see  a  movie  a  second  time;  but  it 
so  happened  that  I  saw  "The  Trespasser" 
twice  and  enjoyed  it  more  the  second  time 
than  the  first.  It  is,  in  its  way,  a  movie 
masterpiece,  authentically  American,  of  our 
soil  and  of  our  times. 

Chicago  throbs  in  it,  and  is  almost  per- 


for    May  1930 


113 


sonified  by  Swanson,  in  spite  of  the  fact 
that  she  is  also  the  Marquise  de  la  Falaise 
de  la  Coudray,  a  part  she  fits  equally  well. 
We  see  her  in  "The  Trespasser"  running, 
as  they  say,  the  gamut  of  emotions  and 
experiences.  It  rings  true.  The  competent 
private  secretary  who  signals  her  lover  in 
the  other  room  while  she  stands  behind  the 
boss,  for  all  the  world,  for  a  moment,  a 
young  girl  in  love,  madly  in  love,  laughter 
and  tears;  the  honeymoon  girl  mussing  her 
husband's  hair  and  tickling  him,  a  laughing 
child;  the  queen  of  women,  casting  him 
aside,  and  his  father  with  him,  a  ramrod 
of  pride;  the  broken  woman  because  she 
cannot  fight  the  world  and  support  her 
child;  the  superb  woman  of  pity  and  grief 
at  the  bedside  of  the  dying  boss  who  be- 
friended her,  making  his  unloved  wife  get 
the  last  kiss;  the  mother,  all  naturalness, 
playfulness,  affection  with  her  small  son;  the 
powerful  Cleopatra-like  woman  who  drives 
the  reporters  and  photographers  from  her 
rooms  and  meets  scandal  with  head  up; 
the  woman  who  meets  her  rival  and  sac 
rifices  herself  to  her  rival  and  her  son's 
welfare.  One  can't  help  the  pun.  Great 
and  Gloria  Swanson! 

And  yet  one  feels  that  she  made  herself 
most  of  this;  that  the  years  behind  her  have 
been  day-by-day  battles  to  develop  herself 
as  a  woman  and  as  an  artist.  Wherever 
life  challenged,  she  met  the  challenge;  not 
only  the  harsh  routine  of  diet,  massage, 
exercise,  dress,  'beauty' — the  high  fee  de' 
manded  of  the  movie  actress;  but  also  those 
greater  battles — over  herself,  against  a  hos- 
tile world,  those  struggles  to  gain  mastery 
in  her  art  of  pantomime  and  of  speech  and 
song.  She  is  one  of  America's  assets,  for 
her  art  is  superb  and  her  life  is  a  chal- 
lenge to  the  rest  of  us. 


/  Knew  Them  When 

Continued  jrom  page  61 

adorable,  they  were  not  for  him.  Later, 
this  same  person  answering  numerous  tele- 
phone calk  from  adoring  women  would 
swear  loyalty  to  each  one.  Jimmy  left  for 
the  Coast  to  try  pictures,  saying  goodbye 
with  an  enigmatical  smile  on  his  face  after 
requesting  us  not  to  write,  as  he'd  be  back 
to  Broadway  soon.  A  chap  with  a  twinkle 
in  his  eyes  though  never  a  crease  in  his 
clothes. 

And  let  me  tell  of  Joan  Crawford,  who 
was  once  known  as  Lucille  Le  Seur.  The 
perfect  showgirl  because  she  never  took  a 
show  seriously.  She  loved  two  things:  life, 
and  pictures  of  herself.  That  girl  could 
find  more  ways  of  having  herself  photo- 
graphed than  Grover  Whalen  and  could 
give  the  most  naive  and  astonished  looks 
when  her  room-mates  suggested  she  leave 
enough  room  on  a  dresser  for  at  least  one 
picture  of  theirs.  She,  who  never  had  a 
penny  at  the  end  of  the  week  but  who  was 
sure  to  have  a  new  pair  of  shoes  she  didn't 
like.  A  wonderful  dancer  and  in  great 
demand  with  members  of  the  opposite  sex, 
whom  she  didn't  give  a  hoot  about.  Never 
took  movies  seriously,  though  sincerely  ad- 
miring them  and  having,  together  with  a 
thousand  other  showgirls,  a  vague  desire 
to  enter  them  herself.  Joan,  always  on  the 
go,  vivid,  alive,  eager,  ever  seeking  some 
peace  for  a  restless  spirit.  We  all  liked 
Joan. 

I  remember!  How  can  I  forget?  Lights 
and  names!  Names  and  lights!  All  of 
them  shining.  Most  of  them  new.  To 
you  old  friends  I  bow  in  admiration,  and 
my  heartfelt  wish  is  that  you  may  have 
happiness  together  with  your  success. 


"OLD  WORLD  WITCHERY* 


It  is  a  clock  . . .  a  musical  clock  . 
that  casts  a  magic  spell 


A  clock  that  is  more  than  a  teller  of  time. 
A  clock  with  dial  and  cabinet  of  exquisite 
beauty.  And  more.  A  clock  with  a  mag- 
ical voice.  Each  quarter  hour  from  within 
its  case  issues  soft  lingering  melody  that 
soothes  the  nerves  and  cheers  the  spirit 
of  all  who  hear  it. 

It  is  the  quaint  old-world  witchery  of 
Sessions  Westminster  Chimes,  a  faithful 
re-creation  of  the  rich  mellow  bell  tones 
of  famous  old  world  cathedrals. 

Catch  them  yourself,  today,  through  your 
radio  receiver.  Choose  your  station  from 
the  list  on  this  page.  Hear  the  haunting 
melody  broadcast  directly  from  within  a 
Sessions  Clock.  As  you  listen  remember 
that  at  a  nearby  store  where  good  clocks 
are  sold  you  can  select  from  a  wide  vari- 
ety of  designs,  a  Sessions  Westminster 
Chime  Clock  to  perpetuate  that  rare 
charm  in  your  home.  You  will  find  them 
actually  inexpensive  .  .  .  twenty-eight  to 


thirty-nine  dollars!  The  Sessions  Clock 
Company,  Forest ville,  Connecticut. 

This  is  the  clock  Joan  Crawford  and  Doug- 
las Fairbanks,  Jr.,  offer  as  a  prize  on 
pages  54  and  55  of  this  magazine. 

TUNE  IN  ON  ONE  OF  THESE 
(See  local  program  for  time) 

In  the  EAST,  WBZA  Boston,  WBZ  Springfield, 
Mass.,  WOKO  Poughkeepsie,  N .  Y . ,  WHEC  Roch- 
ester, N.  Y.,  WIP  Philadelphia,  WRVA  Richmond. 
Va.,  WWVA  Wheeling,  W.  Va.,  KDKA  Pitts- 
burgh, WAPI  Birmingham. 

In  the  MIDDLEWEST,  WTAM  Cleveland, 
KYW  Chicago,  WORD  Chicago,  KMOX  St. 
Louis,  KMMJ  Clay  Center,  Nebr.,  WD  AY  Fargo, 
N.  D.,  WRBQ  Greenville,  Miss. 

In  the  WEST,  KGO  Oakland,  Calif.,  KOL  Seattle, 
KOA  Denver. 


FREE.  New  in- 
teresting booklet, 
"Old  World 
Witchery".  A 
post  card  from 
you  brings  it. 


H1MES 

distant  a  Jfdl 


\essions  Clocks 

(^)  WESTMINSTER.  CHIMES 


114 


SCREENLAND 

Come  Into  the  Kitchen  with  hucile  Gleason— continued  from  page  93 


and  cook  books,  she  gives  Margaret  the 
afternoon  off  and  prepares  the  dinner  her- 
self. 

She  remembers  that  Jim's  favorite  dessert 
is  spice  cakes  with  sauce,  so  she  gives  him 
that.  Russell,  the  21 -year  old  son  of  the 
Gleasons,  has  been  heard  to  declare  his 
adoration  for  chocolate  roll  with  chocolate 
sauce.    Lucile  gives  him  that. 

"Yes,  I  know  I  humor  the  family  when 
I  get  in  the  kitchen,"  admitted  Lucile. 
"But  they  enjoy  it  and  so  do  I.  And 
Margaret  never  complains  if  I  use  up  every 
pan  in  the  cupboard  catering  to  the  boys' 
appetites. 

Jim  Gleason  doesn't  reveal  it  to  many 
people.  But  he  loves  to  make  doughnuts. 
He  turns  them  out  like  a  seasoned  chef. 
Often,  in  the  evening  when  the  servants 
are  all  gone  from  the  kitchen,  he  and 
Lucile  will  wink  at  each  other.  This  wink 
is  the  signal  for  a  doughnut  party  for  two. 
Jim  says  the  trick  in  making  doughnuts  is 
to  be  able  to  repeat  glibly  the  line  about 
"Sufficient  sifted  flour  to  make  a  stickish 
dough."  By  the  time  you  repeat  this  five 
times  without  stumbling,  your  doughnuts 
are  done,  says  Jim. 

Lucile  Gleason's  insistence  that  each 
menu  shall  be*  just  as  perfect  as  skill  and 
knowledge  can  make  it  is  based  on  more 
than*  an  epicure's  enjoyment  of  food. 

"The  dinner  table  is  where  we  discuss 
the  plays  and  stories  we  are  working  on, 
and   the   roles  we   are   playing,"   she  ex- 


plained. "I  think  our  biggest  inspiration 
comes  through  the  discussions  around  the 
dinner  table.  So  you  can  see  what  a  big 
part  the  stimulation  of  a  perfect  meal  plays 
in  our  lives." 

Here  are  some  of  Mrs.  Gleason's  recipes, 
including  the  dessert  about  which  Jim  says .* 
"And  may  Allah  help  you  if  you  don't  like 
chocolate!" 

BAKED  BEANS 

Soak  four  cups  navy  beans  over  night. 
Drain  and  boil  in  fresh  water  until  beans 
are  tender  but  not  broken.  One  hour  is 
usually  sufficient.  Place  in  bean  pot  with 
two  and  one-fourth  pounds  salt  pork.  Mix 
one  teaspoon  baking  soda,  two  teaspoons 
salt,  three-fourth  teaspoon  pepper,  two  tea- 
spoons dry  mustard,  one-half  cup  molasses 
and  one  cup  water.  Pour  mixture  over 
beans  and  bake  four  hours,  basting  occa- 
sionally. 

BOSTON  BROWN  BREAD 

Mix  thoroughly  one  cup  graham  flour, 
one  cup  corn  meal,  one  cup  rye  meal, 
three  fourth  teaspoon  soda,  two  teaspoons 
baking  powder  and  one  teaspoon  salt,  being 
careful  to  see  that  salt  and  soda  are  free 
from  lumps.  Stir  in  three-fourths  cup 
molasses,  one  and  three-fourths  cups  sweet 
milk  and  mix  well.  Fill  greased  molds 
three-fourths  full  and  steam  for  two  and 
one  half  hours. 


CHOCOLATE  ROLL 
Beat  whites  of  three  eggs  until  stiff. 
Add  one-fourth  teaspoon  cream  of  tartar. 
Add  gradually,  one-fourth  cup  sugar. 
Beat  yolks  of  three  eggs  until  lemon 
colored.  Add  one-fourth  cup  sugar.  Sift 
two  tablespoons  cocoa,  two  tablespoons 
flour  and  one-eighth  teaspoon  salt  and  add 
to  yolk  mixture.  Beat  thoroughly  and  add 
one-half  teaspoon  vanilla.  Fold  in  egg 
whites.  Line  oblong  pan  with  white  paper 
well  buttered  and  pour  in  mixture.  Bake 
in  moderate  oven  for  twenty  minutes.  Take 
out  of  oven,  place  cake  on  towel,  spread 
with  sugar  and  roll  like  jelly  roll.  Just 
before  serving,  unroll  and  fill  with  sweet- 
ened whipped  cream.  Roll  back  and  slice. 
Cover  with  hot  chocolate  sauce. 

CHOCOLATE  SAUCE 
Melt  two  squares  bitter  chocolate  in  top 
of  double  boiler.  Add  one  cup  sugar,  one 
and  one-half  cups  of  water  and  boil  until 
it  thickens.  Add  lump  of  butter  the  size 
of  a  walnut.  When  cool,  add  one  teaspoon 
vanilla. 

ORANGE  LOAF 
Mix  two  cups  strained  orange  juice  with 
the  juice  of  two  lemons.  Sweeten  to  taste 
and  let  stand  one  hour.  Whip  one  pint 
cream  to  a  stiff  froth  and  add  one  cup  of 
chopped  walnuts.  Place  juices  in  mold 
with  cream  and  nuts  on  top.  Do  not  stir. 
Pack  in  ice  and  salt  and  let  stand  three 
hours. 


Stars  Who  Never  Saw  Hollywood—  Continued  from  page  31 


the  men  is  approximately  two  hundred  and 
fifty  dollars  a  week*  with  two  and  sometimes 
three  men  in  each  unit,  you  get  a  gentle 
idea  of  the  outlay  the  film  company  puts 
out  each  week,  just  on  the  chance  of 
something  exciting  happening. 

Nobody  enjoyed  making  his  short  talkie 
as  much  as  the  King  of  Spain.  He  was 
very  democratic  with  the  camera  men, 
laughed  and  joked,  and  seemed  to  enjoy 
himself  thoroughly.  King  Alfonso  loves 
people,  life,  light,  gaiety.  The  King  loves 
to  dance  and  to  drive  his  racing  car  very 
fast.  In  his  talkie,  he  spoke  of  how  anxious 
he  was  to  show  the  beauties  of  Spain  to 
the -world.  It. seemed  wonderful  to  him, 
he  said,  that  this  invention  had  come  about 
whereby  he  could  talk  to  us  in  America. 

King  Alfonso  was  not  paid  for  making 
this  talkie.  His  permission  was  procured 
through  the  courtesy  of  our  then  American 
Ambassador,  Mr.  Hammond. 

But  the  life  of  the  talking  camera  man 
is  not  all  champagne  and  caviar  even  with 
a  salary  of  two  hundred  and  fifty  dollars 
a  week,  which  in  francs  and  lire  is  enough 
to  lease  a  castle.  Some  have  even  seen 
the  inside  of  the  hoosegow,  at  Rome.  The 
Pope  is  not  to  be  trifled  with — as  even  Mr. 
Mussolini  can  tell  you. 

When  the  Pope  quit  the  fastness  of  the 
Vatican  for  the  first  time  since  he  entered 
it  to  go  to  St.  Peter's  to  celebrate  mass, 
in  gratitude  for  the  peaceful  solution  of 
difficulties  which  had  existed  for  many  years 
between  the  Vatican  and  the  Italian  Govern- 
ment, he  said,  first,  last,  and  all  the  time 
that  no  camera  men  should  be  permitted 
along  the  route  of  march. 

But  several  hardy  sons  of  democracy  set 
up  their  cameras  on  roofs,  hoping  to  snatch 
a  shot  of  this  most  historic  pageant.  But 


they  were  discovered,  their  film  confiscated, 
and  themselves  invited  to  spend  the  night 
at  the  expense  of  the  Italian  government  in 
the  jail  at  Rome. 

However,  after  the  Pope  returned  from 
St.  Peter's,  he  permitted  himself  to  be  photo- 
graphed on  the  balcony  of  his  apartments 
in  the  Vatican. 

There  was  a  little  sadness  connected  with 
the  photographing  of  Clemenceau.  The 
camera  crew  made  its  way  after  great  ne- 
gotiations up  to  the  secluded  home  of  the 
Tiger  of  France. 

Out  into  the  flower  garden  which  he 
tended  with  his  own  hands,  stepped  the 
man  who  upheld  the  morale  of  France 
during  the  war.  On  his  head  he  wore  his 
little  round  cap,  and  he  leaned  but  slightly 
upon  his  sturdy  peasant  stick.  He  seemed 
to  feel  that  he  had  many  things  to  ac- 
complish before  the  last  sunset  fell  for  him, 
for  while  the  preparations  were  being  made, 
he  said:  "Vite,  s'il  vous  plais.  Le  temps 
est  court,"  or  "Hurry,  if  you  please,  my 
time  is  very  short." 

His  time  was  indeed  very  short,  for  a 
few  weeks  later  he  passed  on  to  his  war- 
rior's reward. 

Of  all  the  colorful  figures  photographed 
recently,  to  my  mind,  Hindenburg,  the 
President  of  Germany,  stands  out. 

What  a  grand  old  man  he  is!  At  eighty 
he  governs  post-war  Germany  with  a  balance 
that  is  almost  unbelievable  in  so  old  a  man. 
His  step  is  still  strong  and  firm.  He  still 
enjoys  the  pleasant  things  of  life:  the 
laughter  of  his  grandchildren,  a  glass  of 
good  Munich  beer,  and  a  strong  pipe  in  a 
still  garden.  Recently  when  the  crack 
steamship  Bremen  was  launched,  he  was 
photographed  for  the  Fox  news  reel. 

He  gave  his  permission  for  this  freely. 


He  objects  not  at  all  to  publicity.  He  does 
everything  in  his  power  to  bring  his  beloved 
fatherland  back  to  the  good  economic  and 
social  repute  it  enjoyed  before  the  war  dogs 
of  1914  were  let  loose  on  an  uncompre- 
hending world. 

But  Kings  and  Queens  have  no  option 
on  exclusiveness.  Our  own  John  D.  Rocke- 
feller who  has  given  seven  and  one  half 
millions  to  charity  and  science  held  out  for 
many  years.  He  absolutely  refused  to  be 
photographed  by  movie  or  still  cameras  in 
intimate  surroundings. 

However,  one  man  won  his  friendship. 
And  one  man  won  the  right  to  photograph 
him. 

C.  E.  Engelbrecht,  a  former  officer  in  the 
German  army,  spends  many  of  his  winters 
in  Florida,  taking  moving  pictures  of  the 
winter  festivities  there.  One  day,  he 
snapped  a  picture  of  John  D.  emerging  from 
church. 

But  he  did  not  rush  out  and  publish  it. 
Instead,  he  showed  it  to  Mr.  Rockefeller 
and  asked:  "Will  you  give  me  your  per- 
mission to  use  this?" 

Old  John  was  surprised  at  such  con- 
sideration. He  not  only  gave  his  con- 
sent, but  assured  Engelbrecht  that  he  was 
the  only  cameraman  who  had  ever  shown 
a  disposition  to  play  fair  with  him. 

Since  that  time  Mr.  Rockefeller  has 
given  Mr.  Engelbrecht  permission  to  photo- 
graph him  many  times:  on  the  golf  links, 
in  his  automobile,  laughing  at  Will  Rogers' 
jokes  and  distributing  dimes  to  children. 
He  is  the  only  cameraman  who  has  direct 
access  to  John  D.  And  last  year  on  Rocke- 
feller's ninetieth  birthday,  when  a  hundred 
cameramen  were  sweating  for  an  oppor- 
tunity to  photograph  the  nonagenarian, 
Engelbrecht  received  the  coveted  permission. 


for     May     19  30 


115 


We  aie  leckin 


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to  take  the  place 
of  Miss  Revier,  . 
beautiful  Columbia 
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contest  carefully. 


_  There*  a 

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waiting 
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Follow  These 
Directions 

Send  your  photograph  (or  photographs) 
postage  pro  paid;  wtth  yourname  and  ad- 
dress prominently  lettered  on  the  back  to 
Miss  Columbia 

0/0  SCREENLAND  MAGAZINE 
49  West  45th  Street 
N.  Y.  City,   N.  Y. 
or  If  you  do  not  want  to  be  eligible  for 
the  ceml-flnal  prixe,  direct  to 

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and  the  measurements  of  your 


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116 


SCREENLAND 


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It  happened  this  way:  Rockefeller  had 
consistently  refused  to  be  photographed. 
However,  on  the  morning  of  his  ninetieth 
birthday  at  eleven  thirty,  Engelbrecht  tele- 
phoned  to  ask  permission  to  make  a  pic 
ture,  from  his  home  in  Lake  Hopatcong, 
sixty  miles  to  Pocantico  Hills,  where  Mr. 
Rockefeller  was  staying  at  his  summer  place. 
"If  he  refuses,"  Mr.  Engelbrecht  said  to 
Rockefeller's  secretary,  "tell  him  I  won't 
bother  him  any  more.  I  don't  want  to 
annoy  him  because  there  isn't  enough 
money  in  the  world  to  pay  for  my  friend' 
ship  with  Mr.  Rockefeller." 

Those  last  words  made  a  big  hit  with 
old  John,  and  he  telephoned  personally  to 
Engelbrecht  to  come  ahead  and  be  there 
at  two'thirty. 

By  that  time,  it  was  eleven'thirty,  and 
Engelbrecht  had  no  raw  film  stock.  But 
he  telephoned  to  the  editor  of  Fox  news 
to  have  men  meet  him  in  New  York  with 
the  film,  and  also  with  a  birthday  cake  with 
ninety  candles. 

The  Fox  offices  don't  bake  birthday  cakes 
and  you  can't  gather  ninety  candles  in  the 
twinkling  of  an  eye. 

By  the  time  Engelbrecht  reached  Nyack 
ferry  with  cake  and  film,  it  was  three 
o'clock.  Knowing  how  punctual  Rocke- 
feller  is  in  the  slightest  detail,  Engelbrecht 
was  sweating  blood.  When  he  reached  the 
gates  of  the  estates,  he  was  stopped  by 
guards,  refusing  him  permission  to  enter. 
But  a  judicious  telephone  call  opened  the 
gates.  Perspiring  but  happy,  Engelbrecht 
hurried  through  the  vast  estate  grounds, 
arriving  to  find  John  D.  waiting  in  a  new 
suit,  with  a  white  waistcoat  and  with  a 
flower  in  his  buttonhole.  He  gave  Mr. 
Engelbrecht  a  cordial  welcome  and  offered 
him  luncheon. 

For  an  hour  John  D.  permitted  Engel- 
brecht  to  take  pictures  of  him,  putting  off 
his  daily  three-thirty  motor  drive  which  to 
him  is  as  unalterable  as  the  laws  of  the 
Medes  and  Persians. 

It  was  the  taking  of  these  silent  moving 


pictures  which  gained  permission  recently 
for  the  Fox  news  to  take  talking  pictures 
of  Mr.  Rockefeller  at  Ormand  Beach  to  be 
shown  at  Cleveland  on  the  sixtieth  anni- 
versary   of    the    Standard    Oil  Company. 

Scarcely  any  celebrated  person  has  been 
neglected  by  the  talking  news  reels.  We 
have  watched  Lindbergh  swaying  through 
the  skies.  We  have  seen  King  George  of 
England  on  his  way  to  open  Parliament 
and  at  the  inauguration  of  the  Bridge  over 
the  Tyne.  The  Prince  of  Wales  and 
Prince  George  have  many  times  been 
vocally  recorded.  The  Prince  of  Wales  is 
always  affable  and  agreeable  and  never 
seems  too  bored  or  hurried  to  give  the 
camera  men  a  break. 

The  Emperor  of  Japan,  the  most  secluded 
monarch  in  the  world,  permitted  himself 
to  be  glimpsed  and  heard  at  a  review  of 
the  Japanese  troops  and  school  girls  in  a 
recent  athletic  celebration.  We  have  seen 
Queen  Marie  of  Roumania,  in  her  lovely 
long  veils,  with  little  Prince  Michael  on 
one  side  of  her,  and  the  sad  Queen  Helen 
on  the  other.  We  have  heard  Conan 
Doyle  talk  of  Sherloc\  Holmes  and  of 
psychic  research.  We  have  observed 
Thomas  Edison  speaking  of  his  rubber  dis- 
coveries. We  have  admired  the  King  of 
Sweden  entering  his  place  of  worship. 
And  last  of  all,  we  have  viewed  the  ill- 
fated  Prince  Carol  of  Roumania  at  an  open 
window  with  Magda  Lupescu,  the  beau- 
tiful dark-eyed  woman,  whom  he  has  loved 
above  mother,  child,  wife  and  power. 

This  great  invention,  the  talking  news 
reel,  brings  all  the  colorful  figures  of  the 
world  down  to  the  level  of  our  under- 
standing and  within  the  reach  of  our  sym- 
pathy. We  watch  them.  We  weigh  them. 
And  as  our  eyes  follow  their  fleeting 
figures,  we  realize  that  the  same  joys, 
fears,  despairs  and  loves  which  so  beset 
our  days  are  the  same  loves,  despairs,  fears, 
and  joys  which  follow  them.  The  news 
reel  has  given  them  all  the  common  touch. 
It  has  helped  to  teach  them  and  us  that 
all  men  are  created  equal. 


Chaney  Comes  Back  —  Continued  jrom  page  33 


and  between  times  act  as  stage  manager  and 
keep  track  of  costumes,  scenery  and  props. 

"I  remember  once,  in  a  little  town  in 
Canada,  we  played  a  wild  melodrama,  and  I 
played  three  different  desperadoes  and  one 
English  tourist,  all  in  the  same  play.  I 
was  afraid  they'd  play  'Uncle  Tom's  Cabin' 
some  day,  and  I'd  have  to  fill  in  for  one 
of  the  bloodhounds. 

"There  was  nothing  remarkable  about  all 
this  doubling  in  brass,  as  they  used  to  call 
it.  It  was  the  regular  job  of  every  stock 
actor.  I  have  seen  Landers  Stevens,  for 
instance — -he's  in  pictures  now — play  four 
separate  roles  in  a  play  night  after  night, 
while  rehearsing  about  as  many  in  the  play 
they'd  put  on  the  following  week.  George 
Marion  used  to  do  it,  Willard  Mack — all 
of  the  old  timers.  You  see,  traveling  com- 
panies had  to  keep  expenses  down,  and 
wouldn't  carry  extra  people  if  they  could 
get  players  who'd  double. 

"And  doubling,  of  course,  meant  culti- 
vating different  voices  and  dialects.  I  re- 
member hanging  around  a  saloon  in  San 
Francisco  for  a  week,  to  get  the  dialect  of 
the  German  bartender  down  pat,  and  used 
it  many  a  time  afterwards  for  Dutch  comedy 
parts.  I  picked  up  the  Irish  from  the 
brakeman  on  one  of  our  show  trains,  and 
the  negro  from  one  that  played  in  a  vaude- 
ville bill  with  us  long  ago. 

"Another   time   I   traveled   clear  across 


Canada  with  a  musical  comedy  show.  We 
did  great  business  at  first  but  the  further 
East  we  went  the  worse  it  got.  We  kept 
dropping  members  of  the  company  to  keep 
down  expenses.  Finally,  I  was  acting  as 
stage  manager,  transportation  man,  playing 
as  many  as  four  parts,  and  helping  in  the 
box  office  as  Well. 

"I  used  to  have  costumes  and  make-up 
stuff  laid  on  chairs  off-stage.  Then  I'd  play 
a  character,  rush  out,  and  make  up  for 
another  in  time  to  take  that  cue,  and  so 
on.  They  talk  about  rapid  change  artists 
in  vaudeville,  but  I  don't  think  any  one 
changed  faster  than  we  did  in  that  little 
company.  It  came  handy  later  on,  that 
practice  in  making  up. 

"Another  thing — that  sort  of  work  trains 
one  in  many  voices,  for  one  has  to  keep 
switching.  The  old-time  stock  actor  had  to 
know  almost  every  dialect,  pitch  his  voice 
for  different  characters,  and  usually  do  a 
specialty  between  the  acts.  I  guess  I've 
danced  a  million  miles  doing  specialties. 

"It's  funny  how  you  lose  sight  of  things 
through  habit.  I've  been  playing  in  silent 
pictures  so  long  that  I  had  almost  forgotten 
about  speaking  lines,  and  people  don't  seem 
ever  to  associate  me  with  the  old  Chaney 
of  the  stage.  But,  as  a  matter  of  fact,  I 
was  really  speaking  lines  all  the  time.  In 
every  silent  picture  I  spoke  lines  in  all 
the  action — only,  because  they  didn't  record 


for     May     19  30 

"em  and  called  them  titles,  no  one  realized 
that  it  was  being  done.  Lionel  Barrymore 
pointed  that  out,  when  he  first  began  to 
direct. 

"When  I  first  started  in  pictures,  I  had 
the  idea  of  playing  characters  as  I  had  on 
the  stage,  and  ran  against  the  type  idea. 
It  was  easier,  directors  argued,  to  get  actors 
of  the  type  desired,  and  let  them  simply 
play  themselves,  than  it  was  to  let  players 
make-up  and  act  characters  foreign  to  their 
own  selves.  I  had  many  an  argument  over 
that  in  the  old  days,  and  finally  in  'The 
Miracle  Man'  got  the  break  that  permitted 
me  to  go  ahead  With  my  theory. 

"In  the  talking  pictures  this  style  of  act' 
ing — the  real  acting,  I  have  always  held, 
is  coming  back.  Willard  Mack  donned 
whiskers  and  played  a  role  in  a  picture  not 
long  ago,  and  nobody  even  suspected  that 
it  was  he.  Lionel  Barrymore  did  the  same 
trick,  just  to  show  that  an  actor  could  hide 
himself  behind  the  personality  he  played. 
I  won't  tell  what  they  played,  but  every 
body's  seen  both  the  roles  I  speak  of,  and 
nobody  recognized  either  man.  That  just 
goes  to  show  that  it  can  be  done,  and  I 
think  that  when  a  man  can  completely  don 
the  identity  of  another  until  he  can't  even 
be  recognized — that's  acting. 

"That's  going  to  be  my  idea  in  talkies. 
I  want  to  talk  in  at  least  two  voices  or 
dialects  in  every  picture.  I  want  to  talk 
not  as  Lon  Chaney  would  talk,  but  as  the 
character  he  happens  to  be  playing  would 
talk.  There  is  no  sense  in  making  up  a  face 
for  a  character,  then  using  one's  own  voice. 
Instead,  I  want  to  use  the  character's  voice." 

"Won't  you  have  to  practice  a  bit?"  he 
was  asked. 

"Yes,  it  was  quite  a  few  years  ago  that 
I  used  to  jump  around  from  voice  to  voice 
on  the  stage,  but  I  did  it  for  pretty  nearly 
twenty  years,  at  that.  Of  course,  I've  had 
a  lot  of  tonsils  pulled  out  since,  and  the 
old  pipes  got  a  bit  rusty.  But  I  don't 
worry  much  about  that,  I've  done  quite  a 
bit  of  talking,  you  know,  even  though  I've 
been  silent  in  pictures.  Gosh,  I  even  used 
to  sing  in  the  old  days,  in  comic  opera!  I 
suppose  they'll  want  me  to  sing  a  theme 
song  some  of  these  days.  Imagine  one  of 
my  tough  characters  singing  a  theme  song. 
And  at  that — perhaps  I'll  fool  'em  all, 
and  do  it! 

"I  can  still  do  a  buck-and-wing  or  a 
soft  shoe  dance.  If  they  want  me  to  dance 
and  sing  I  guess  there's  no  reason  why  I 
shouldn't — take  in  a  play  like  'Laugh, 
Clown,  Laugh,'  for  instance.  The  only 
thing  I  don't  want  to  do  is  sing  theme 
songs  in  some  of  the  dramatic  things  I  do. 
Imagine  singing  'I  kissed  her  where  East  is 
East,'  or  'West  of  Zanzibar  is  Home  Sweet 
Home  to  me!' 

"It  all  comes  to  this — show  business  is 
show  business,  today  just  as  it  was  in  the 
days  when  Sophocles  invented  the  first  sex' 
tette  number  in  a  Greek  theater,  back 
around  400  B.  C." 


The  combination  Victor  orthophonic 
and  radio  and  fifteen  autographed 
records  which  Rudy  Vallee  offered  in 
the  January  Screenland  have  been 
awarded  to  Miss  Pearl  Hopkins,  2966 
Lothrop   Avenue,  Detroit,  Mich. 


The  winner  of  the  Richard  Arlen 
gift  offered  in  the  February  Screen- 
land  is  Mrs.  George  D.  Morgan,  Iris 
Lane,    Westhampton.    Richmond,  Va. 


117 


Alice  White  gets  a  high-powered 
shock! 


She's  reading 
an  amazing 
book. 
The  book  the 

screen  stars 
are  reading — 
The  book  every 
screen  follower 
will  read,  too! 


Th 


e 


Hollywood 

MURDER 
MYSTERY 

By  Herbert  Crooker 


Alice  White  is  one  of  the  many  screen 
stars  who  has  hailed  THE  HOLLYWOOD 
MURDER  MYSTERY  as  the  season's 
most  terrifying  thriller.  Gilda  Gray  tele- 
graphs the  author:  "Shivers  are  my 
specialty,  but  your  thrilling  novel  taught 
me  a  new  brand."  And  Doug  Fairbanks, 
Jr.,  exclaimed  that  all  of  the  thrills  are 
amazingly  real. 

Estelle  Taylor,  Corinne  Griffith,  Jack 
Mulhall,  Loretta  Young,  Irene  Bordoni, 
Eddie  Buzzell,  and  others  wired  their 
congratulations.  It  is  an  absorbing,  fas- 
cinating mystery  story  which  also  gives 
a  true  picture  of  Hollywood  and  behind 
the  scenes  in  the  studios. 

The  girl  whose  murder  baffles  the  most 
skillful  detectives  is  an  ex-Follies  girl,  an 
exquisite  dancer,  who  was  glorified  into 
the  movies.  The  tragedy  occurs  after  a 
gay  party  where  she  was  the  feature  of 
the  entertainment.  All  screenland  is  hor- 
rified.    Then    Clay    Brooke,    the  great 


criminologist,  as  fascinating  as  a  movie 
star,  enters  the  case  and  Hollywood  waits 
breathless  while  more  sensational  events 
take  place. 

So  baffling  is  the  mystery  that  only 
Brooke  is  able  to  find  the  solution.  You 
will  follow  his  astounding  adventures 
through  thrilling  moments  and  will  delight 
in  the  marvelous  moves  of  the  master- 
mind. 

Use  this  coupon  right  away  if  you  want 
a  copy  of  Hollywood's  most  amazing 
mystery. 


THE    MACAULAY   COMPANY  ! 

257   Fourth   Avenue.  » 

New  York,  N,  Y.  [ 

Please  send  me  a  copy  of  THE  HOLLYWOOD  ! 

MURDER  MYSTERY.  □  I  enclose  $2.  plus  15  ', 
cents  postage.     □  Please  send  C.   O.  D. 

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118 


SCREENLAND 


How  to  Look 

Years  Younger 

-in  just  a  few  minutes! 


IS  your  face  beginning  to  show  lines,  "crows- 
feet",  and  wrinkles?  Are  the  muscles  start- 
ing to  sag  and  pouch  ?  Are  you  commencing  to 
look  older  than  your  actual  age  ? 
You've  often  heard  of  Susanna  Cocroft,  the 
world-famous  health  specialist.  But  have  you 
heard  of  her  amazing  new  invention  that  makes 
women  look  years  younger — in  just  a  few 
minutes?  There  is  no  need  now  for  surgical 
face-lifting  I  Miss  Cocroft's  new  invisible  de- 
vice smoothes  out  the  signs  of  years,  quickly, 
pleasantly  and  inexpensively. 

Susanna  Cocroft's  Invention 

is  different  from  anything  you  have  ever  heard  of.  Tou 
have  to  see  the  results  in  your  own  mirror  to  believe 
them  possible.  The  photographs  above,  for  example, 
were  taken  just  a  few  minutes  apart.  They  were  not 
retouched  or  revised  in  any  way!  Yet  how  many  years 
younger  does  this  woman  look  in  the  photograph  at 
the  right?    Ten.   fifteen,   or  twenty  years? 

MAIL  COUPON 

There   is   a  way   to   banish   that   tired,  growing-old 
appearance,  those  wrinkles  and  pouches 
that   mar   one's   looks.     Let  us  send 
you   without    the   slightest  obligation, 
our   interesting    little   book   that  tells 
all     about     Susanna  Cocroft's 
amazing  new  invention,  what  it 
is,  what  it  means  to  you.  Illus- 
trated  with    actual  photographs 
that  will  astonish  you.  Also 
full    facts    about  "7-day 
free-proof  offer"! 
Send  for  your  copy  without 
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Won  By  a  Voice  —  Continued  from  page  31 


HAVE  YOUR  PICTURE 

ON  YOUR 

Writing  Paper 

New — Individual — Distinctive.  This  writ- 
ing paper  expresses  your  personality. 
Think  of  the  thrill  your  sweetheart,  rela- 
tives and  dearest  friends  will  get  when 
you  write  them  on  this  new  paper.  24 
sheets  and  24  envelopes.  Fine  grade 
Hammermill  Bond  paper — ripple  finish  used. 
Fold  over  sheets  for  ladies  in  White,  Blue 
or  Buff — full  size  flat  sheets  for  men  in 
white  only.  Photoscript  is  a  mile  ahead  of 
monograms  and   printed  stationery. 

Send  your  best  print  or  negative,  we 
enlarge  or  reduce  the  head  and  shoulders 
as  required  and  reproduce  on  every  letter 
sheet.      Your    picture    returned  unharmed. 

Any  clear  picture  will  do — snap  shot 
or  portrait.  Send  your  picture  with  $1.98 
or  pay  postman  $2.15  on  delivery. 

THE  PHOTOSCRIPT  COMPANY 
Dept.  51,  6333  Germantown  Ave.,  Phila. 


herds  out  on  the  beach  at  Guadalupe  and 
we  tried  to  tie  'em  up  and  capture  them 
alive.  But  they  woke  up  and  raised  the 
merry  devil  before  we  got  'em  bagged." 

Leading  Bickford  away  from  whales  to 
moving  pictures  is  a  hard  job.  He  gives 
you  the  impression  he'd  just  as  soon  have 
never  started  on  it. 

"What  you  heard  is  right,'"  he  says 
briskly.  "I  thought  movies  were  all  bunk 
and  my  opinion  wasn't  greatly  altered  when 
I  landed  out  here  and  began  working. 
Only  one  thing  has  changed  my  mind  and 
that's  'Anna  Christie.'  It's  the  only  worth- 
while picture  made. 

"I  say  that  picture  is  a  worthy  effort 
because  it  was  not  sacrificed  on  the  Box 
Office  altar.  It  was  filmed  just  as  it  was 
written  and  acted  just  as  intended  without 
any  hokum  being  injected.  It  is  real  and 
grim,  so  grim  I'm  not  sure  the  movie  pub- 
lic won't  be  displeased  at  its  sordidness. 
It  is  done  just  as  it  should  have  been  done 
and  as  a  lot  of  other  pictures  should  have 
been  done,  preserving  the  drama  and  play- 
ing it  straight.  I  hope  the  critics  realize 
the  greatness  of  it  and  help  to  educate 
audiences  to  appreciate  such  pictures.  It's 
all  up  to  audiences.  The  producers  are 
going  to  give  'em  what  they  want. 

"In  'Anna  Christie'  you  don't  look  at 
it  and  then  say  that  so-and-so  gave  a  great 
performance.  You  say  it's  a  good  picture 
and  that's  what  counts.  It  is  the  thing 
as  a  whole  that  is  splendid.  If  you  have 
a  good  play  and  a  good  cast  you  can  put 
it  on  in  a  barn  and  still  hit  your  audiences. 
This  picture  had  the  first  perfectly-balanced 


cast  I  ever  saw  in  a  motion  picture.  And 
the  story  was  equally  balanced  as  well.  It 
started  out  with  a  slow  momentum,  just 
like  starting  a  motor.  Then  it  began  to 
pick  up  speed  steadily  and  smoothly  until 
it  reached  that  big  climatic  scene  where  it 
hit  the  high  spots  of  drama  and  emotional- 
ism. There  isn't  a  flaw  to  be  found  any 
where. 

"Yes,  that's  true,  too.  I  didn't  want  to 
play  in  the  picture  because  it  was  a  star' 
ring  vehicle  for  Garbo.  No,  I  didn't  know 
Garbo  and  hadn't  even  seen  her.  There 
was  nothing  personal  in  it  whatever.  I 
just  didn't  want  to  be  stuck  in  to  support 
a  star.  As  I  say,  I  didn't  know  Garbo. 
I  know  her  now.  She's  a  great  trouper 
and  a  magnificent  artist  who  regards  the 
play  as  the  thing  above  all  else.  It  was 
great  to  work  with  her. 

"Tonight  I'm  shoving  off  for  Mazatlan, 
Mexico,  to  make  location  scenes  for  'The 
Sea  Bat.'  My  whaling  boats  will  be  in 
port  while  I'm  down  there  so  I  can  com' 
bine  both  my  business  affairs.  Perhaps 
they  will  let  me  make  the  return  trip  on 
one  of  my  boats — they  say  the  whales  are 
running  fine  down  there  now  and  I'd  like 
to  keep  my  harpoon  eye  in  practice.  Well, 
sorry  to  have  to  go  but  you  know  how  it 
is — stop  in  and  see  me  when  I  get  back 
if  you  like  whale  steaks." 

Again  as  he  strode  across  the  lot  we 
could  hear  him  singing: 
"Strike  up  the  band,  here  comes  a  sailor, 
"Cash  in  his  hand,  fresh  from  a  whaler, 
"Stand  in  a  row,  don't  let  him  go 
"For  Jack's  a  cinch  but  every  inch  a  sailor!" 

— 4- 


In  New  York  —  Continued  from  page  91 


said:  'Auntie,  what's  an  easterner?  The 
kids  all  say  I'm  an  easterner.' 

"He  used  to  spend  most  of  his  time  in 
our  hotel  room.  One  day  he  set  off  some 
fire-crackers  and  burnt  a  lot  of  little  holes 
in  the  carpet.  I  didn't  know  what  to  do. 
But  I  thought  it  best  to  call  up  the  hotel 
clerk  and  offer  to  pay. 

"The  clerk  said  he  would  come  up  and 
look  it  over.  But  just  before  he  came  into 
the  room,  my  sister  found  another  terribly 
big  hole  which  we  hadn't  seen  before. 
Hastily  she  put  the  waste  paper  basket  over 
it. 

"The  clerk  came  in,  looked  at  the  holes 
which  were  mostly  small  and  said:  'This 
won't  cost  much.  We  can  fix  it  up  for 
very  little.     It's  nothing,  really  nothing.' 

"  'Humph,'  said  my  little  .nephew  who 
was  taking  it  all  in,  'if  you  think  these 
holes  aren't  anything,  you  should  see  the 
one  mother  covered  with  the  wastebasket." 

"I'm  sure  when  I  go  back  to  Hollywood 
to  make  my  next  picture  I'll  feel  a  lot  more 
at  home.  I  love  talkies.  It's  wonderful 
to  be  able  to  stay  one  place  a  long  time 
and  not  be  changing  from  city  to  city 
every  week.  I've  been  a  trouper  a  long 
time  and  this  is  the  first  time  I've  ever 
been  able  to  sit  down  and  draw  my  breath 
and  not  have  to  think  of  packing  my  trunk 
and  hopping  a  train  every  Friday  night." 

He's  the  new  laugh  man  of  the  movies, 
and  he's  as  funny  off  stage  as  on.  His 
name  is  Stuart  Erwin,  and  now,  of  course, 
you  remember  roaring  at  him  as  Axel  in 
"Sweetie,"   as   well   as   in   other  pictures. 

Stuart  plays  opposite  Helen  Kane  in 
"Dangerous  Nan,"  and  Mai  St.  Clair,  the 
director — who  is  himself  by  the  way,  quite 


a  tall,  handsome,  distinguished  gentleman — 
says  they're  one  of  the  nicest  gangs  with 
which  he  ever  worked. 

On  one  of  the  hottest  spring  days  New 
York  has  seen  since  1879,  Stuart  was  walk' 
ing  around  the  Paramount  lot  in  a  raccoon 
coat,  raccoon  hat,  fancy  sweater,  thick 
trousers  and  high  boots,  which  he  wouldn't 
lace  up  no  matter  how  hard  Helen  Kane's 
sister  tried  to  persuade  him.  Mr.  Erwin 
played  in  stock  in  San  Francisco  and  Holly- 
wood for  several  years  before  the  talkies 
decided  they  couldn't  get  on  without  him. 
He  is  extremely  popular  with  movie  folk — 
both  men  and  women.  He  talks  very  slowly, 
refuses  to  be  hurried,  and  pulls  a  wise 
crack  out  of  the  corner  of  his  mouth  every 
ten  minutes. 

Stuart  took  me  into  the  large  fifty  thou' 
sand  dollar  truck  which  contains  all  the 
mechanical  equipment  for  making  outdoor 
talkies  and  explained  the  gadgets. 

"How  did  you  learn  all  about  this?"  I 
asked,  knowing  most  actors  have  no  tech' 
nical  sense  at  all. 

"I  never  did  know  anything  about  these 
sound  trucks  until  one  day  in  Hollywood 
when  the  temperature  dropped  twenty  de- 
grees in  a  couple  of  hours.  Suddenly  we 
all  developed  a  burning  interest  in  the  tech- 
nical side  of  the  outdoor  talkie  equipment. 
For  the  first  time  in  three  years,  the  actors 
actually  found  out  how  the  cameras  were 
recording  their  voices  because  every  time 
the  director  would  stop  shooting,  the  whole 
cast  would  crowd  inside  the  sound  truck — 
to  get  warm!" 

#  % 

"If  you  think  actors  live  the  life  of  Riley, 
you  ought  to  meet  Norman  Foster,"  Al 
Wilkie  said  the  other  day. 


fo 


Mav     19  30 


119 


"Norman  Foster^*'' 

"Yes.  Claudette  Colbert's  husband,  you 
know — he  plays  in  the  stage  show,  'June 
Moon."  And  that's  not  all!"  Wiikie  con- 
tinued. "He's  the  new  male  lead  in  the 
talkie  of  Katherine  Brush's  Saturday  Eve- 
ning Post  serial,  'Young  Man  of  Manhat- 
tan.' He  also  sings  over  the  radio,  and 
writes  plays  as  well." 

Norman  Foster  is  an  exceedingly  likable 
young  man,  and  needless  to  say,  one  of  the 
hardest  working  men  in  the  profession. 
He's  tall  and  slight,  with  a  fine  sensitive 
face,  long  nervous  hands,  and  a  deep  flex- 
ible voice. 

When  I  met  him,  Norman  was  about  to 
go  out  and  get  all  soaked  up. 

No,  he  doesn't  drink.  At  least  not  on 
the  lot.  But  he  was  about  to  get  soaked 
all  the  same.  In  the  talkie,  Norman  plays 
the  part  of  the  young  newspaper  man  at 
the  Dempsey-Tunney  fight  in  Philadelphia 
— the  young  man  who  is  in  love  with  a 
newspaper  girl,  played  by  Claudette  Col- 
bert, the  star. 

Well,  we  all  know  that  Philadelphia  put 
on  an  epic  storm  the  day  of  the  Dempsey- 
Tunney  fight  just  to  make  the  visitors  feel 
welcome.  Monta  Bell  is  directing  this  pic- 
ture and  he  decided  to  make  it  the  last 
word  in  realism.  So  he  has  had  recon- 
structed a  section  of  the  stadium  and  an 
exact  replica  of  the  street  and  houses  facing 
the  huge  arena.  Over  it  all  many  dozens 
of  water  pipes  have  been  installed.  And 
at  a  turn  of  the  tap,  at  the  crucial  moment 
in  the  tenth  round.  Bell  gave  the  signal 
and  the  rain  came  down  in  torrents.  In- 
side the  ring,  the  actors  playing  Dempsey 
and  Tunney  hammered  away.  The  gong 
sounded.  Tunney  got  the  decision.  The 
crowd  roared.  Norman  and  Claudette 
breathed  a  sigh  of  relief,  mopping  their 
faces  and  thinking  of  home  and  hot  coffee 


— but  acting's  only  a  dog's  life  after  all. 
For  Monta  Bell  decided  to  shoot  the  fight, 
rain  and  all,  over  again.  So  once  more 
for  art's  sake,  Norman  and  Claudette  got 
soaked,  putting  them,  no  doubt,  in  the 
same  mood  Goethe  was  in  when  he  wrote: 
"Ah.  but  Art  is  long,  and  Life,  alas,  is 
fleeting!" 

If  a  straw  vote  could  be  taken  in  the 
United  States  of  the  most  popular  char- 
acter actress  I  believe  Louise  Dresser  would 
win  the  election.  She's  an  old  timer  who 
has  kept  up  with  the  times.  A  former 
stage  actress,  a  present  day  screen  player 
who  at  forty-four  possesses  a  freshness  of 
mind,  body  and  spirit  which  seems  to  defy 
time.  Louise  has  been  my  favorite  player 
for  years.  She  still  is.  Because  she  pos- 
sesses a  loyalty  to  the  finest  traditions  of 
stage  and  screen. 

The  other  day  she  gave  a  party  at  the 
Savoy  Plaza.  It  was  a  grand  party  with 
all  sorts  of  things  to  eat  and  drink,  a  fine 
orchestra  to  play  dance  music,  and  several 
artists  who  sang. 

Primarily,  this  party  was  thrown  for  the 
New  York  press,  but  Louise  had  not  for- 
gotten her  old  stage  friends.  All  of  them 
were  there.  Actresses  you  haven't  heard 
of  for  twenty  years.  Actresses  whose 
names  are  in  Broadway  lights  today.  And 
actresses  who  are  standing  on  the  ragged, 
frayed  edge  of  oblivion. 

Some  of  them  were  pathetic,  others  gal- 
lant, one  or  two  a  little  bitter  in  their 
reminiscent  moods — but  all  of  them  have 
for  Louise  a  friendship  that  has  nothing 
to  do  with  money  or  fame.  They  have  a 
friendship  which  has  endured  for  so  many 
years  because  before  Louise  Dresser  is  a 
creator  of  dramatic  illusions,  she  is  first 
of  all  a  woman  with  a  big,  unselfish  heart. 


Vive  La  France!— continued  /  rom  page  23 


"I  was  in  vaudeville.  I  played  here  on 
the  coast  in  1928.  It  was  good  for  me, 
the  time  I  spent  in  vaudeville.  It's  the 
best  training  you  can  have  for  the  talkies, 
unless  it  is  burlesque." 

No  wonder  Mademoiselle  Dorsay  has  had 
so  many  successful  engagements.  She 
trained  like  any  good  soldier.  First  in  the 
chorus  of  the  "Greenwich  Village  Follies," 
then  with  Gallagher  and  Shean,  then  in 
vaudeville,  and  lastly  "They  Had  To  See 
Paris"  and  "Hot  For  Paris."  Yes,  you 
will  probably  make  those  topmost  shining 
towers,  Fifi.    So  Vive  la  Fifi!    Et  Comment! 

Look!  That  gay  and  gallant  figure  in 
the  handsome  military  regalia.  Can  that 
be — yes,  it  can  be — the  debonair  Marshal 
Maurice  Chevalier.  With  war  medals  for 
valor  and  medals  of  song  and  laughter 
collected  from  the  amusement  centers  of 
Europe,  he  now  gathers  a  few  more  medals 
from  his  rapidly  growing  army  of  Ameri- 
can fans.  With  his  first  picture,  "Inno- 
cents of  Paris,"  he  advanced  the  cause  of 
the  French,  and  with  "The  Love  Parade" 
the  keys  of  Mikeland  are  practically  his. 
He  has  only  to  finish  "The  Big  Pond," 
his  next,  and  he  will  be  firmly  entrenched 
in  the  favor  of  the  American  public. 

Who  is  that  charming  leader  of  the 
shock  troops,  with  the  roguish  smile  and 
deadly  Big  Bertha  beam  of  flashing  eyes? 
Is  there  anyone  who  saw  "The  Cock-Eyed 
World,"  who  does  not  remember  that  tell- 
ing barrage  of  high  voltage  accent?  But, 
alas,  Mademoiselle  Lily  Damita  has  deserted 
to  the  stage.     Mon  Dieu,  Mon  Dieu! 

There's  Irene  Bordoni  who  laid  claims 


to  the  French  talkie  victory  in  such  a  big 
way.  The  potent  flash  of  those  naughty 
eyes,  that  luscious  voice,  those  ooo  la  la 
gestures — it  would  be  a  pretty  poor  fort 
that  would  put  up  any  resistance  to  the 
Bordoni  onslaught.    Encore  to  "Paris." 

Claudette  Colbert  may  not  be  so  strictly 
French — but  why  strictly  anything — but 
the  Gallic  flavor  is  there.  This  talented 
young  actress,  long  popular  with  New 
York  audiences,  now  adds  several  more  vic- 
tories for  France.  She  has  stepped  right 
along  for  La  Patrie,  first  in  "The  Lady 
Lies"  and  now  with  Maurice  Chevalier 
will  gain  further  honors  in  "The  Big  Pond." 

Then  there's  Georges  Carpentier,  who 
has  proven  himself  not  entirely  a  man  of 
'socks'  appeal.  Georges  can  use  his  feet 
as  well  as  his  fists  and  sing  a  ditty  that 
registers  with  the  best  of  them.  Remember 
him  in  "The  Show  of  Shows?"  Now,  there 
was  a  victory  for  France  and  the  'mike.' 

Watch  those  reserve  troops  in  the  back- 
ground, groomed  and  shining,  waiting  to 
take  their  place  in  the  battle.  There's 
Renee  Adoree,  long  one  of  our  favorite 
French  ladies,  yet  to  be  heard  from;  and 
there's  Yola  D'Avril  who  has  already  done 
her  bit  for  the  freedom  of  the  wild  'zees'. 

So,  on  they  come,  these  invaders  of  Hol- 
lywood, and  there  can't  be  too  many  of 
them.  With  their  charm  and  supreme 
artistry,  with  their  songs  that  bring  a  new 
brand  of  gaiety  to  the  screen,  with  the 
bubbling  champagne  of  their  zest  for  life, 
they  have  found  a  conqueror's  place  in 
cinema  land.     Vive  la  France! 


Laura  La  Plante,  Uni- 
versal Star,  appears 
dainty  and  lovely  in  the 
sleeveless  sun  style  of 
the  tennis  court. 


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Street- 
■uCity .... 


120 


SCREENLAND 


Lovely  whiteness 

Only  a  bleach  can  reveal  f 
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tune. 

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The  Girls  Behind  the  Stars 

Continued  from  page  25 


rugged.  Here's  where  another  clever  young 
woman  demonstrates  her  skill  and  artistry. 
On  the  slim  shoulders  of  Margery  Prevost 
rests  the  task  of  decorating  many  of  the 
modern,  the  English  and  the  Spanish  set- 
tings. 

Margery,  a  younger  sister  of  the  film- 
famed  Marie,  had  her  fling  as  an  actress 
and  as  a  Ziegfeld  girl.  But  the  lure  of 
draperies  and  brie  a  brae  was  stronger  than 
the  fascination  of  grease  paint.  Margery 
spent  her  spare  time  assisting  her  friends 
in  the  decoration  of  their  homes,  finally 
drifting  into  that  department  in  one  of 
the  .smart  Hollywood  shops.  The  next  step 
was  into  the  studio.   There  she  is. 

"I  have  been  here  just  a  year  and  a  half," 
Margery  smiled.  "I  think  I  have  the  most 
fascinating  job  in  the  world.  I  wouldn't 
change  places  with  any  girl  I  know." 

This  unfailing  enthusiasm  for  their  work 
is  one  of  the  secrets  of  the  success  of  these 
young  women. 

After  the  settings  have  been  made  ready, 
the  feminine  players  must  have  clothes  to 
wear  in  the  rooms.  Henrietta  Frazer  is  one 
of  the  clever  young  women  who  take  care 
of  this  colorful  part  of  picture  making.  Mrs. 
Frazer  is  assistant  to  Joseph  Rapf,  wardrobe 
manager. 

Mrs.  Frazer  really  drifted  into  her  job. 
Not  so  long  ago  she  was  famed  as  one  of 
the  best-dressed  women  of  her  home  town, 
Chicago.  She  came  to  New  York  where 
she  dabbled  in  interior  decoration  and 
music.  But  clothes,  their  designing  and 
their  wearing,  were  always  of  paramount 
interest  to  her.  So  she  drifted  into  the 
studio  and  has  stayed  there. 

"I  came  out  here  three  years  ago,"  Mrs. 
Frazer  explained,  sitting  in  her  office  in 
one  corner  of  the  huge  wardrobe  building, 
"and  I  never  want  to  leave.  It  is  the  most 
interesting  work  in  the  world." 

But  before  the  Garbos,  the  Shearers  and 
the  Swansons  can  put  on  their  gowns,  they 
must  make  up  their  faces.  A  frock  may  be 
a  dream  of  joy,  but  if  its  wearer's  skin  is 
not  the  right  tint,  if  her  eyes  are  not 
shadowed  correctly,  her  lips  not  shaped  in 
their  proper  magic  line,  the  gown  fails  of 
its  purpose. 

A  striking  Russian-Italian  brunette,  Lil- 
lian Rosini,  is  responsible  for  the  make-up 
of  many  feminine  players.  She  knows  how 
to  make  plump  cheeks  delicately  rounded, 
dull  eyes  gleamingly  bright,  sagging  lips 
voluptuously  tip-tilted. 

Born  in  New  Haven  and  educated  in 
Russia,  Miss  Rosini  has  been  a  singer,  an 
actress  and  a  screen  player.  Strange  as  it 
may  seem,  this  young  woman  who  spends 
her  daytime  hours  making  up  others'  faces, 
was  given  her  own  first  screen  make-up  by 
Lon  Chaney,  the  master.  It  was  Chaney, 
too,  who  advised  her  to  go  into  business 
of  screen  make-up.  She  created  the  first 
studio  make-up  department  and  has  become 
one  of  the  screen's  leading  authorities  on 
the  photographic  values  of  powders  and 
paints. 

Before  the  cameras  can  start  to  grind  an 
army  of  typewriters  must  do  its  work. 
These  typewriters  must  be  manipulated  by 
skillfuf  feminine  fingers.  Which  opens 
another  field  of  endeavor  for  the  girls  who 
have  hit  the  Western  trail. 

In  a  sunny  office  just  inside  the  gates 
of  the  Metro-Goldwyn-Mayer  studio,  Edith 
Farrell  directs  the  activities  of  a  large  force 
of  stenographers  and  typists.     She  is  man- 


ager of  the  personnel  and  script  department, 
engaging  all  newcomers  and  promoting  them 
from  her  offices  to  various  places  of  impor- 
tance in  the  studio  machine. 

Miss  Farrell,  a  native  Los  Angelan,  has 
been  working  in  studios  since  she  was  grad- 
uated from  business  college. 

'A  studio  offers  unlimited  opportunities 
for  girls  with  good  educations  and  back- 
grounds," Miss  Farrell  stated  across  the 
shining  glass  top  of  her  desk.  "It  is  a 
case  of  the  survival  of  the  fittest,  of  course. 
Those  who  are  capable  may  go  up  and  up. 
The  unsuited  one  will  inevitably  drop  by 
the  wayside." 

One  of  the  most  important  secretarial 
positions  on  the  screen  world  is  held  by 
an  Indianapolis  girl,  Vivian  Newcom,  sec 
retary  to  Irving  Thalberg,  vice-president  of 
the  Metro-Goldwyn-Mayer  studio.  Miss 
Newcom  went  to  Hollywood  for  a  trip, 
found  a  job  in  a  studio  and  stayed. 

"The  fascination  of  studio  work  lies  in 
its  constant  variation,"  Miss  Newcom  said, 
"each  day  is  different  and  you  are  given 
the  opportunity  to  meet  so  many  interest- 
ing people." 

Being  a  script  clerk  on  a  picture  is  sort 
of  a  sister  job  to  being  a  secretary.  One 
of  the  best  known  script  clerks  in  the  busi- 
ness is  much-traveled,  black-haired  Josephine 
Chippo,  who  has  accompanied  Director  W. 
S.  Van  Dyke  on  his  sojourns  to  foreign 
lands. 

'Joe'  was  born  in  San  Francisco  but  the 
lure  of  the  movies  brought  her  down  the 
coast  to  Hollywood  after  she  had  finished 
business  college.  She  has  always  worked 
behind  the  scenes  of  the  pictures.  She  has 
gone  with  Van  Dyke  to  Wyoming  wilds 
for  the  filming  of  "Wyoming,"  to  Tahiti 
for  the  making  of  "The  Pagan"  and  has 
just  returned  from  ten  months  in  the  heart 
of  the  African  jungle  where  she  assisted  in 
the  filming  of  "Trader  Horn." 

Finding  players  to  fit  the  parts  is  another 
big  job  in  the  making  of  movies.  There's 
where  the  casting  offices  and  Marcella  Napp 
play  their  important  roles.  Miss  Napp  is 
assistant  to  the  casting  director.  Before  her 
all-seeing  eyes  pass  the  hundreds  of  eager 
seekers  for  screen  fame.  Marcella  knows 
and  is  known  by  every  actor  and  actress 
in  Hollywood. 

Three  years  ago  Marcella  left  her  native 
New  York  to  venture  into  the  wilds  of 
Hollywood  for  a  vacation.  She  liked  the 
sunshine  and  decided  to  stay.  For  a  short 
time  she  played  extra  parts  in  the  pictures. 
One  day  she  happened  to  be  in  the  casting 
office  when  one  of  the  girls  was  leaving. 
Marcella  decided  that  she  would  never  be 
a  great  actress  but  that  someday  she  might 
be  a  great  picker  of  great  actresses.  So 
she  asked  for  the  job  of  the  departing 
girl,  got  it  and  has  been  working  at  it 
ever  since. 

Another  branch  of  the  movie  game  which 
is  little  known  beyond  the  studio  walls  is 
the  cutting  department.  Much  is  written 
about  the  players  but  little  is  told  about  the 
people  who  decide  the  fate  of  the  players. 
In  the  cutting  rooms  the  actors  become 
either  faces  on  the  floor  or  pieces  of  the 
completed  reels. 

Among  the  few  successful  women  cutters 
are  Margaret  Booth  and  Blanche  Sewell, 
girls  who  have  really  grown  up  with  the 
business. 

Miss  Booth  left  high  school  to  start  as 


for     May     19  30 


121 


a  film  patcher  in  the  D.  W.  Griffith  cut- 
ting rooms.  Today,  she  puts  together  some 
of  the  biggest  films  in  the  industry.  Miss 
Sewell,  a  minister's  daughter  from  Okla- 
homa City,  began  her  career  by  cleaning 
and  splicing  negatives  during  high  school 
vacations.  To  her  skill  with  the  scissors 
belongs  a  large  share  of  the  credit  for  the 
beauty  of  many  of  the  largest  pictures  which 
have  come  from  Hollywood. 

Peggy  Coleman,  a  Philadelphia  girl,  is 
chief  nurse  for  this  studio.  With  a  long 
record  of  overseas  war  service,  Miss  Cole- 


man drifted  into  studio  work  when  she 
came  West  for  her  health.  She  directs  the 
studio  hospital  and  looks  after  the  ailments 
of  the  famous  folk  of  the  films. 

There  is  a  place  for  every  sort  of  train- 
ing, for  every  kind  of  intelligence  in  this 
far-reaching  movie  field.  It  is  little  won- 
der that  Hollywood  has  proven  a  Mecca 
for  ambitious  girls  from  every  country  in 
the  world. 

The  stars  may  come  and  the  stars  may 
go,  but  the  girls  behind  the  stars  go  on 
forever. 


'Gaily'  Grows  Up  —  Continued  from  page  66 


Broadway  can  spend  most  of  their  time 
on  the  'Gay  White  Way'  and  no  one  gives 
a  hoot.  If  a  motion  picture  star  spends 
more  than  one  night  a  month  in  such 
places,  there  is  a  yell  of  scandal.  Dad 
told  me  I  couldn't  mix  such  pleasures  with 
a  career  and  I  believe  him.  I  want  a 
career.  The  pleasures  can  come  after- 
wards." 

Despite  her  antipathy  to  night  life,  Joan 
is  no  prude.  She  early  learned  that  things 
of  which  she  did  not  approve  might  be 
acceptable  to  others.  Abhorring  gossip, 
she  is  always  ready  to  sympathize  with  any- 
one who  has  been  slandered  or  made  a 
victim  by  Dame  Rumor.  'Little  Gaily' 
does  not  mince  her  words  in  defending 
friend  or  foe  and  frankness  of  speech  has 
lost  her  several  acquaintances,  but  never 
a  real  friend.  Those  who  know  her  best 
respect  Joan's  sincerity.  For  the  others, 
she  cares  not  one  whit. 

There  has  been  no  scandal  connected 
with  her  name.  Furthermore,  she  is  one 
of  the  very,  very,  few  young  girls  in  pic- 
tures who  has  never  been  reported  engaged 
or  madly  in  love  with  some  man.  For  this, 
Joan  is  thankful  as  she  believes  that  men. 
like  pleasures,  should  come  after  her 
ambition. 

A  wonderful  transformation  has  taken 
place  in  the  timid  little  blonde  I  met  when 
she  came  to  Hollywood  for  Ronald  Col- 
man's  first  talkie.  The  shyness  which 
caused  her  first  interviewer  to  proclaim 
Joan  'dumb'  has  been  superseded  by  won- 
derful self-poise.  Even  then  she  wasn't 
so  dumb.  He  simply  scared  her  to  death 
by  asking  that  she  speak  of  herself.  There 
would  be  no  trouble  in  obtaining  a  whiz 
of  an  interview  now  for  Joan  discourses 
fluently  about  her  past,  present  and  future 
in  approved  Hollywood  fashion.  There  is 
no  more  brilliant  conversationalist  in  pic- 
tures than  'Little  Gaily' — when  she  wants 
to  be.  If  not  disposed  to  talk,  no  clam 
could  possibly  close  up  tighter. 

Through  her  screen  characterizations, 
'Little  Gaily"  has  moulded  her  private 
self.  She  adopted  her  motion  picture  walk 
for  the  street  and  thereby  added  to  her 
gracefulness.  In  "Bulldog  Drummond"  she 
stalked  on  and  off  the  screen,  but  since 
that  picture  Joan  glides  into  a  production 
in  a  way  that  would  do  credit  to  Alice 
Joyce.  Mannerisms  none  too  becoming 
have  been  dropped  and  others  more  suit- 
able adopted.  Even  'Little  Gally's'  orig- 
inal bob  has  been  made  over  and  she  now 
wears  her  tresses  coiffured  to  suit  her  in- 
dividuality. Really  the  three  P's — Push. 
Pluck  and  Personality  have  made  Joan  a 
woman  well  worth  knowing. 

Although  her  screen  characterizations 
are  usually  of  the  'clinging  vine'  type, 
there's  nothing  'clingy'  about  Joan.  She 
is  the  most  independent  little  person  you 
ever  heard  of.    Even  icemen  take  off  their 


hat  in  her  presence  and  tender  the  proper 
change.  Although  she  likes  everybody  and 
hopes  everybody  likes  her,  'Little  Gaily' 
asks  no  advice  in  running  her  business.  It 
is  always  welcome — provided  it  suits  her 
to  take  it.  Otherwise  the  advice  goes  into 
one  ear  and  rapidly  out  the  other. 

By  signing  the  contract  she  has  with 
United  Artists,  Joan  proved  her  business 
ability.  Under  its  terms  she  is  allowed 
to  sell  her  services  to  other  companies 
when  not  making  pictures  for  her  own. 
All  she  is  able  to  get  in  excess  of  the  sal- 
ary paid  her  by  United  Artists  is  split 
fifty-fifty  between  that  company  and  her- 
self. As  she  has  made  .several  productions 
on  foreign  lots,  this  amounts  to  no  incon- 
siderable amount. 

Being  economically  inclined,  'Little  Gaily' 
budgets  her  overhead.  One  servant  takes 
care  of  everything  about  her  house  and  she 
drives  her  own  modest  little  coupe.  There 
are  no  expensive  parties  held  at  the  Ben- 
nett home.  While  she  entertains  her 
friends  frequently,  the  refreshments  are  in- 
expensive though  wholesome.  Her  one  ex- 
travagance is  bridge  and,  as  she  plays  the 
game  rather  well,  it  costs  her  little. 

There  is  nothing  high  hat  about  'Little 
Gaily'  although  she  might  easily  have  be- 
come so.  Thanks  to  her  good  common 
sense,  she  is  everything  else  but.  Joan 
doesn't  even  take  all  the  credit  for  her 
success,  claiming  the  great  players  with 
whom  she  has  been  cast  deserve  most  of 
it.  Probably  they  did  help  her  a  lot,  but 
no  one  could  convince  me  most  of  it  is 
not  due  to  her  own  efforts.  Whoever  gets 
it  can  congratulate  themselves  for  she  has 
come  to  the  front  faster  than  any  girl  in 
pictures. 

I  have  tried  to  write  something  of  what 
I  know  about  Joan  but  there  is  a  lot  which 
could  be  added.  For  instance,  she  is  not 
a  shining  example  of  luck  or  pluck,  but 
just  one  of  the  kind  of  girls  who  are  now 
coming  into  pictures.  The  day  of  riotous 
living  is  past  and  those  who  come  to  Holly- 
wood thinking  to  combine  pleasure  with 
business  had  best  return  home  on  the  first 
train.  They  are  not  wanted  in  pictures  and 
have  no  chance  for  success. 

It  usually  takes  years  to  train  a  star, 
but  that  honor  has  come  to  Bennetts 
'Little  Gaily"  within  fourteen  months. 
United  Artists  have  announced  her  star- 
dom and  the  title  of  her  first  vehicle.  Joan's 
screen  history  belongs  to  the  public,  but  her 
future  belongs  to  herself.  She  has  the 
ability  and  I,  for  one,  believe  she  will  take 
advantage  of  it.  Ronald  Colman.  George 
Arliss  and  Harry  Richman.  all  of  whom 
she  has  supported  as  leading  lady,  are 
willing  to  gamble  her  first  starring  vehicle 
will  be  a  pronounced  success. 

Meanwhile  her  dad  is  pulling  for  her 
steadily.  Though  she  is  now  a  grown-up. 
deep  down  in  his  heart  he  still  thinks  of 
Joan  as  'Little  Gaily." 


GROW— 

Yes,  Grow  Eyelashes 
and  Eyebrows  like  this 
in  30  days 

THE  most  marvelous  discovery  has  been  made — a 
way  to  make  eyelashes  and  eyebrows  actually 
grow.  Now  if  you  want  long,  curling,  silken  lashes, 
you  can  have  them — and  beautiful,  wonderful  eye- 
brows. 

I  say  to  you  in  plain  English  that  no  matter  how 
scant  the  eyelashes  and  eyebrows,  I  will  increase 
their  length  and  thickness  in  30  days — or  not  accept 
a  single  penny.  No  "ifs,"  "ands,"  or  "maybes."  It 
is  new  growth,  startling  results,  or  no  pay.  And  you 
are  the  sole  judge. 

Proved  Beyond  the  Shadow  of  a  Doubt 

Over  ten  thousand  women  have  tried  my  amazing 
discovery,  proved  that  eyes  can  now  be  fringed  with 
long,  curling  natural  lashes,  and  the  eyebrows  made 
intense,  strong  silken  lines  1  Read  what  a  few  of 
them  say.  I  have  made  oath  before  a  notary  public 
that  these  letters  are  voluntary  and  genuine.  From 
Mile.  Hefflefinger,  240  \V.  "B"  St.,  Carlisle,  Pa.: 
"I  certainly  am  delighted  ...  I  notice  the  greatest 
difference  ...  people  I  come  in  contact  with  remark 
how  long  and  silky  my  eyelashes  appear."  From 
Naomi  Otstot,  5437  Westminster  Ave.,  W.  Phila., 
Pa.:  "I  am  greatly  pleased.  My  eyebrows  and 
lashes  are  beautiful  now."  From  Frances  Raviart, 
R.  D.  No.  2,  Box  179,  Jeanette,  Penn.:  "Your  eye- 
lash and  evebrow  beautifier  is  simply  marvelous." 
From  Pearl  Provo,  2954  Taylor  St.,  N.  E.,  Minne- 
apolis, Minn.:  "I  have  been  using  your  eyebrow  and 
eyelash  Method.  It  is  surely  wonderful."  From 
Miss  Flora  J.  Corriveau,  8  Pinette  Ave.,  Biddeford, 
Me.:  "I  am  more  than  pleased  with  your  Method. 
My  eyelashes  are  growing  long  and  luxurious." 

Results  Noticeable  in  a  Week 

In  one  week — sometimes  in  a  day  or  two — you 
notice  the  effect.  The  eyelashes  become  more  beau- 
tiful— like  a  silken  fringe.  The  darling  little  upward 
curl  shows  itself.  The  eyebrows  become  sleek  and 
tractable — with  a  noticeable  appearance  of  growth 
and  thickness.  You  will  have  the  thrill  of  a  life- 
time— know  that  you  can  have  eyelashes  and  eye- 
brows as  beautiful  as  any  you  ever  saw. 

Remember  ...  in  30  days  I  guarantee  results  that 
will  not  only  delight,  but  amaze.  If  you  are  not 
absolutely  and  entirely  satisfied,  your  money  will 
be  returned  promptly.  I  mean  just  that — no  quibble, 
no  strings.  Introductory  price  SI. 95.  Later  the 
price  will  be  regularly  $5.00. 

Grower  will  be  sent  C.  O.  D.  or  you  can  send 
money  with  order.  If  money  accompanies  order 
postage  will  be  prepaid. 


LUCILLE  YOUNG, 

645  Lucille  Young  Building.  Chicago,  III. 

Send  me  your  new  discovery  for  growing  eye- 
lashes and  eyebrows.  If  not  absolutely  and 
entirely  satisfied.  I  will  return  it  within  30  days 
and  you  will  return  my  money  without  question. 

Price  C.  O.  D.  is  SI. 95  plus  few  cents  postage. 
If  money  sent  with  order  price  is  $1.95  and  post- 
age is  prepaid. 

State  whether  money  enclosed  or  you  want 
order  C.  O.  D  


>5.00_  /7 


Name- 


St.  Address_ 
City  


122 


SCREENLAND 


ffMfa^ajamire 

Your  hair— lovely,!  ustrous,  sparkling  with  a  myriad 
of  tiny  dancing  lights— pretty  as  a  picture  !  That  is  the 
way  it  willlook  aftera  Golden  Glint  Shampoo. 

The  secret  of  this  marvelous  shampoo  is  its  difference. 
It  is  used  differently— just  to  suit  your  own  shade  of 
hair— and  what  a  delightfully  different  effect  it  gives. 
Your  hair  will  glow  with  a  softloveliness.  You'll  see 
beautiful  undertones  that  hide  from  ordinary  sham- 
poos! Just  one  Golden  Glint  Shampoo  will  make 
your  hair  lovelierthan  you  have  ever  seen  it.  And  it's 
so  easy  to  use  — you'd  never  believe  so  small  an  effort 
could  bring  such  wonderful  results!  25c  at  your 
dealers',  or  send  for  free  sample. 

-  FREE   


Yes,  It's  A  Movie  Conference 

Continued  from  page  27 


J.  W.  KOBI  CO.,  617  Rainier  Ave.,  Dept.  E 
Seattle,  Wash.    ***•    Please  send  a  free  sample. 

Name  ,   

Address  — 

City_  


^State^ 


Color  of  my  hair: 


They  Thought  My 
Hat  Cost  $15.00 
But  I  Made 
It  Myself 
for  Only 
$3.00!" 

"T  HARDLY  knew  how 
to  hold  a  needle, 
much  less  make  a  hat. 
But  one  day  I  saw  the 
offer  of  a  free  book  of 
instructions  and  I  sent 
for  it.  The  instructions 
were  so  clear  and  simple 
that  I  tried  my  hand  at 
moulding  one  of  those  new  Dusty  Pink  summer 
felts.  When  my  friends  saw  it,  they  were  abso- 
lutely astonished  with  its  chic  and  wondered 
how  in  the  world  I  could  afford  a  $15  hat  I  But 
when  they  learned  I  made  it  myself,  their  ex- 
citement knew  no  bounds  and  they  begged  me 
to  mould  their  hats.  I  did — and  so  successfully 
that  now  I  have  an  established  trade  in  my 
own  home  and  my  «arnings  range  from  #50  to 
#100  a  week!" 

Course  of  Instructions  Sent  FREE 

Leam  about  this  new  French  method  of  moulding 
hats  to  the  head.  Jnstmction.s  complete  and  thorough 
for  both  straw  and  felt  hats.  Paris  and  New  York 
designs  furnished  monthly.  Send  your  name  and 
address  on  margin  of  this  ad  and  we'll  mail  you 
fascinating  details  on  How  to  Mould  Hats  to  the  Head. 

THE    M0ULDISTE  SYSTEM 
Dept.    E-IO,  518  N.  Trumbull  Ave.,   Chicago,  Illinois 

Beautiful  Complexion 

IN  15  DAYS 

Clear  your  complexion  of  pimples,  blackheads, 
whiteheads,  red  spots,  enlarged  pores,  oily  skin 
|  and  other  blemishes.    1  can  give  you  a  com- 
|  plexion  soft,  rosy,  clear,  velvety  beyond  your 
I  fondest  dream.  And  I  do  it  in  a  feu)  daj/B.  My 
method  is   different.     No  cosmetics,  lotions, 
nalves,  soaps,  clay,  ointments,  plasters,  band- 
ages, masks,  vapor  sprays,  massage,  rollers  or 
other  implements.  No  diet,  no  fasting.  Nothing 
to  take.   Cannot  injure  the  most  delicate  skin. 
Send  for  mw  Free  Booklet.    You  are  not  obll- 
1  gated.    Send  no  money.    Junt  get  the  facts. 

Dorothy  Ray,  646  N.  Michigan  Blvd.,  Dept.  2550,  Chicago 


asks  if  everyone  has  read  the  available 
material  on  the  adaptation  of  the  story 
which  has  been  in  the  process  of  prepara- 
tion  by  Messrs.  Josephson  and  Perez.  Pen- 
cils and  note  paper  rattles,  note  books  come 
to  view,  and  loose'leaf  books  filled  with 
typewritten  sheets,  sheets  of  music  and  other 
literary  effects  are  arranged. 

"Now,"  Mr.  Baker  begins,  "I  will  give 
you  the  story  as  we  have  developed  it  last 
night  and  this  morning." 

Subsequent  inquiry  by  your  correspondent 
revealed  that  the  story  of  "Mile.  Modiste" 
at  this  stage  had  been  given  a  two  thousand 
word  'treatment,''  and  that  at  various  stages 
of  its  progress  the  dialogue  and  stage  di- 
rections  were  in  their  final  form.  At  other 
stages  there  was  much  that  was  incomplete, 
numerous  points  and  sequences  which  must 
be  ironed  out. 

Baker  very  clearly  and  definitely  began 
outlining  the  story  from  the  beginning. 
Almost  instantly  there  was  an  interruption 
by  Director  Seiter,  and  the  first  change 
was  made. 

"I'd  save  the  introduction  and  the  song 
until  later,"  he  suggested.  "How  do  you 
gentlemen  like  the  idea  of  commencing 
with  a  song?  We  have  a  plot  which  is 
going  to  be  more  or  less  dramatic  through' 
out,  but  it  should  start  on  a  light,  lively 
tempo." 

"I  don't  like  the  idea!"  was  the  frank 
exclamation  coming  from  Crawford,  which 
was  a  bit  surprising,  coming  as  it  did  from 
a  musician  who  supposedly  would  demand 
music  and  more  music  in  the  picture. 

"I'm  for  it!"  cried  Perez,  the  scenarist. 

"So  am  I!"  seconded  Julian  Josephson, 
also  a  story  expert.  "We  must  realize 
that  this  story  isn't  air-tight,  coming  as 
it  does  from  a  musical  comedy.  The  sooner 
we  establish  its  musical  nature,  the  more 
story  latitude  we  have  for  later  sequences." 

Baker  quietly  interrogated  the  others. 
Then  Wallis  deftly  summed  up  the  prop- 
osition. Heads  nodded  in  the  affirmative 
and  negative.  Cigars  gone  out  were  re- 
lighted. Cigarettes  came  from  silver  and 
gold  cases. 

Result:  "Mile.  Modiste"  opens  its  story 
with  a  song  instead  of  plot  action  and 
dialogue — unless  a  later  conference  changes 
the  matter! 

As  the  conference  went  on,  there  were 
frequent  references,  as  might  be  expected, 
to  what  other  pictures  had  done  in  the  way 
of  experiments  with  a  musical  background. 

"I  am  of  the  opinion,"  Paul  Perez  re- 
marked, "that  Lupino  Lane's  song  at  the 
beginning  of  'The  Love  Parade'  was  one 
of  the  good  features  of  the  picture,  and 
I'm  sure  that  the  story  would  not  have 
appeared  as  logical  as  it  did  even  without 
that  sort  of  introduction." 

Another  characteristic  of  the  conference 
was  the  simple  method  of  designating  the 
sort  of  character  they  were  discussing  or 
creating  by  temporarily  'casting'  a  movie 
type  to  represent  him. 

"That's  the  Claude  Gillingwater  type," 
one  of  them  would  say.  "The  girl  is  a 
Fazenda  type,  and  the  fat  comic  is  a  Frank 
McHugh." 

This  did  not  mean  that  Louise  Fazenda, 
Claude  Gillingwater  or  Frank  McHugh 
would  necessarily  appear  in  "Mile.  Modiste." 
Casting  was  to  be  gone  into  at  a  later 
conference,  in  which  the  casting  director 
and  others  are  present.  The  names  were 
merely  verbal  conveniences  of  a  descriptive 
nature,  representing  definite  pictures  in  the 


brains  of  movie-trained  story  experts.  The 
whole  world  to  them  may  be  cast  from 
actors  and  actresses  whose  every  trick  is 
familiar  to  them.  At  the  time  this  confer- 
ence was  called  only  Bernice  Claire,  Wal- 
ter Pidgeon  and  Edward  Everett  Horton 
had  been  assigned  to  the  leading  roles. 

Suddenly  the  conference  confab  branches 
to  the  subject  of  music,  Leonardi  plays  and 
sings  a  number.  It  is  the  Algerian  song. 
Robert  North  and  Larry  Ceballos  sing  with 
the  pianist  and  heads  all  along  the  table 
nod  in  time  with  the  music.  As  the  num- 
ber is  finished,  Robert  North  discloses  the 
not  generally  known  fact  that  the  lyric  for 
Kiss  Me  Again,  as  sold  in  the  popular  song 
editions  and  hence  most  familiar  to  the  pub- 
lic, is  not  the  same  as  in  the  famous  old 
operetta. 

Then  there  is  a  dispute.  The  subject 
concerns  the  indiscriminate  use  of  dances. 
The  scenario  experts  want  to  use  striking 
types  of  Frenchmen  in  the  modiste  shop. 
The  dance  and  musical  specialists  want 
chorus  boys  so  that  at  a  given  cue  they 
could  quit  shopping  and  performing  action 
for  the  camera  and  begin  dancing. 

The  scenarists,  Director  Seiter  and  Robert 
North  win  the  argument  adjudged  by 
Arbiter  Wallis.  Dances,  is  the  verdict, 
will  not  be  performed  illogically  and  with- 
out reason.  A  ballet  was  also  voted  down. 
As  it  was  developing  it  was  evident  that 
the  story  of  the  little  modiste  is  to  reach 
the  screen  without  all  of  that  quaint  care- 
lessness of  realism  which  the  musical  ver- 
sion gloried  in. 

The  musical  maestros  of  the  conference 
saw,  of  course,  that  Kiss  Me  Again  is  to 
be  the  backbone  of  the  musical  score,  alnd 
it  was  decided  that  many  of  the  original 
musical  numbers  will  be  retained.  Then 
the  question  came  up  on  the  advisibility 
of  retaining  practically  all  of  Victor  Her- 
bert's music,  or  of  eliminating  enough  of 
it  to  give  the  studio  songsters  and  com- 
posers an  opportunity  to  supply  some  origi- 
nal tunes  for  the  rich  old  score. 

This  subject  was  decided  by  a  process 
of  elimination.  Leonardi  played  each  num- 
ber of  the  score  of  "Mile.  Modiste,"  and 
each  number  was  discussed  and  analyzed 
as  to  its  cinematic  values.  Each  number 
was  accepted  or  rejected  and  its  place  in 
the  story  was  decided.  Love  Me,  Love  My 
Dog  was  played  for  its  very  life.  Tempor- 
arily its  life  was  saved  and  it  was  retained. 

"Now,  here's  a  regular  David  Garrick 
scene,"  Baker  suddenly  announced,  with 
his  knack  of  abridged  description  which  his 
listeners  grasped  readily.  The  scene  was 
discussed,  improvements  were  suggested, 
notes  were  taken,  and  the  final  decision  ap- 
peared to  be  satisfactory  to  everyone. 

That  "Mile.  Modiste"  will  be  strictly 
modern  and  up  to  date  was  made  certain 
when  radio  music  was  voted  as  a  part  of 
the  story.  The  old  song,  Hats  Ma\e  the 
Woman  will  probably  become  Gowns  Ma\e 
the  Woman.  New  lyrics  are  being  written 
for  other  of  the  Victor  Herbert  melodies 
because  of  the  necessity  of  modernizing  the 
words. 

An  interesting  observation  of  your  cor- 
respondent was  that  the  influence  of  music 
in  the  production  was  shown  roughly  at 
this  mahogany  board  of  cerebration  by  the 
fact  that  musicians  out-numbered  writers  of 
plot  and  dialogue  by  two  to  one.  Num- 
erous times  their  points  carried  the  day. 
Perhaps  the  knights  of  the  typewriter  were 
awed  by  the  melodic  magicians. 


for     May  1930 


123 


But  it  was  C.  Graham  Baker  who  deftly 
laid  the  story  before  them  so  that  their 
story-trained  minds  saw  it  evolve  in  a 
series  of  vivid  mental  pictures.  And  it  was 
Hal  Wallis  who  would  listen  attentively  to 
excited  disputes,  and  lend  his  own  opin- 
ions; then  deftly  sum  up  the  results  and 
pronounce  them  in  a  decision  as  definite 
and  clear  as  a  baseball  umpire's  gesture 
which  means  "Yer  out!" 

The  conference  broke  up  in  two  hours 
without  a  casualty,  except,  perhaps,  for 
your  correspondent,  who  was  as  weak  as 
a  rag.  He  left  with  a  new  respect  for 
movie  conferences  and  for  the  minds  which 
function   in   the  picture   production  field. 


Hollywood  Party  Nights 

Continued  from  page  59 

"That  music  makes  you  wish  you  were 
young  and  wicked,  doesn't  it?"  demanded 
a  certain  director,  rather  noted  for  his  affairs 
of  the  heart,  as  he  came  by. 

"It  does  make  you  young  and  wicked!" 
Thelma  Todd,  who  had  paused  a  moment 
at  our  table,  retorted. 

We  found  out  that  Whiteman's  band  was 
preparing  to  present  him  next  day  with  some 
lovely  sapphire  sleeve-links  with  his  face  in 
diamonds  on  one  side. 

"That's  the  face  you'd  love  to  touch!"  re- 
marked Natalie  Kingston. 

Joan  Bennett  was  there,  in  a  big  party, 
looking  very  sweet  and  pretty,  and  other 
notables  managed  to  squeeze  in  later,  includ- 
ing Bebe  Daniels  and  Ben  Lyon,  and  Doug 
Fairbanks,  Jr.,  and  Joan  Crawford. 

We  chatted  a  moment  with  Marion 
Harris,  and  she  said  that  Rush  Hughes,  her 
former  husband,  is  coming  to  Hollywood 
soon,  but  that  she  doesn't  expect  to  be 
reconciled  to  him. 

Miss  Harris  sang,  in  that  perfectly  fas- 
cinating way  of  hers,  some  of  those  songs 
about  'being  crazy  about  her  baby,  and 
he's  crazy  about  me,"  and  the  crowd 
wouldn't  let  her  go  until  she  had  given 
half  a  dozen  encores. 

Nobody  went  home  until  morning,  and 
everybody  voted  the  evening  a  huge 
success. 

"Mary  Pickford  is  inviting  us  to  lunch 
with  her  up  at  Pickfair  to  see  all  the  lovely 
things  she  brought  home  from  the  Orient," 
Patsy  told  me,  and  I  was,  of  course,  as 
delighted  as  Patsy. 

Verna  Chalif,  Mary's  cousin,  was  there 
when  we  arrived.  She  is  a  dancer,  you 
know;  and  we  all  sat  down  in  the  bright 
library  to  chat. 

Mary  is  looking  very  lovely  following 
her  trip,  and  with  her  bobbed  hair,  but 
we  fancied  that  there  is  a  shade  of  sadness 
all  the  time  in  her  eyes — those  violet- 
hazel  eyes  that  are  keen  without  being 
hard,  but  that  are  always  kindly  and 
friendly  as  well  as  magnetic  and  beautiful. 

We  spoke  of  her  mother,  who  passed 
away  just  before  she  went  abroad,  and 
she  told  us  she  couldn't  bear  even  to  drive 
past  her  mother's  old  home. 

But  .she  hasn't  lost  any  of  her  quiet 
humor,  at  that,  and  soon  asked  us  in 
sprightly  fashion  if  we  happened  to  'over- 
hear this  green  and  orange  sport  suit  of 
mine  as  you  came  in?' 

It  wasn't  nearly  as  green  and  yellow  as 
it  sounds,  but  was  very  smart,  as,  of  course, 
it  must  be  since  it  came  from  Paris. 

Mary  told  us  how  she  missed  Gwynne, 
Lottie's  little  daughter,  whom,  you  know, 
Mrs.  Pickford  adopted,  and  whom  Mary 
Had  just  left  at  school  in  Switzerland. 

"She  is  tall  and  dark  and  all  the  things 


To  those  who  think 

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I  wanted  to  be."  Mary  explained.  "And 
she  isn't  going  on  the  stage  nor  in  pictures, 
I  think.  In  fact,  she  is  a  very  practical 
miss,  who  likes  to  mess  around  in  labor- 
atories, and  when  she  gets  home  in  July, 
I'm  going  to  see  that  she  has  a  laboratory 
of  her  own.  She  has  an  inventive  turn  of 
mind." 

Mary  had  a  lot  of  pretty  things  brought 
in  for  us  to  look  at.  Among  them  was  a 
plain  little  Japanese  sandal,  and  we  asked 
her  what  on  earth  she  had  brought  that 
home  for. 

"Oh,  that,"  she  said,  "was  thrown  under 
Doug's  and  my  car  as  we  left  the  station 
at  Kyoto,  in  Japan.  You  see,  there  were 
a  lot  of  them  thrown.  That's  the  greatest 
compliment  a  Japanese  can  pay  you — throw- 
ing his  shoes  under  your  car  to  be 
crushed." 

Lunch  was  served  in  the  bright  little 
library  where  we  sat,  and  Mary  told  us 
how,  in  the  Orient,  filling  up  on  spinach 
and  potatoes  had  caused  her  to  miss  an 
elephant  hunt! 

"You  see.  I  was  so  run  down  from 
not  being  able  to  eat  the  food  we  found 
in  the  Orient  that  I  was  afraid  to  brave 
the  heat  of  the  interior.  Anyhow,"  Mary 
smiled,  "can  you  imagine  me  chasing  an 
elephant?" 

Mary  and  Doug,  it  seemed,  had  been 
invited  by  a  Maharajah  of  India  to  witness 
an  elephant  hunt  on  his  domain,  but  Mary 
had  not  been  able  to  go,  and  so,  of  course, 
Doug  wouldn't  go  either. 

Mary  told  a  story  on  Doug. 

"When  we  got  to  China,"  she  said,  "he 
insisted,  one  day,  that  he  must  have  a 
dinner  of  native  food.  Nothing  else  would 
do.  He  ordered  sharks'  fins  and  bird's-nest 
soup  and  eggs  a  hundred  years  old.  And 
then  it  was  brought  on.  I  could  see  he 
was  rather  appalled,  but  he  ate  his  way 
right  through  it  like  a  man.  I  contented 
myself  with  nibbling  on  the  side." 

Mary,  we  found,  isn't  half  as  fond  of 
travel  as  her  husband  is.  She  is  a  home 
loving  little  body. 

"Besides,  I  told  Doug  that  if  he  had  had 
to  rattle  around  on  trains  as  much  as  I 
did  when  he  was  little,  he'd  not  be  so 
crazy  about  travel  either,"  she  explained 
with  a  little  rueful  smile. 

"But  we  were  treated  wonderfully," 
Mary  said,  "and,  of  course,  that  made  us 
very  happy." 

We  asked  about  the  dress  of  the  Chinese 
women,  and  whether  it  was  much  modified 
among  the  higher  classes. 

"Want  to  see  a  dress  such  as  a  Chinese 
lady  would  wear  to  an  embassy  ball?"  Mary 
asked. 

Of  course,  we  said  yes,  whereupon  she 
had  a  maid  bring  in  a  red  velvet  gown. 
It  was  a  sort  of  modification  of  the  old 
Chinese  feminine  dress — a  long,  narrow 
frock  in  one  piece,  with  a  high  collar  which 
clasped  on  one  side,  and  trimmed  with  gold 
embroidery. 

"The  Chinese  women  of  the  official 
classes  and  the  older,  more  staid  circles 
won't  yet  wear  the  low  necked  gowns," 
she  told  us. 

The  gown  had  been  given  her,  and  Mary 
declared  she  meant  to  wear  it  some  time  to 
a  theatrical  opening. 

There  are  lovely  treasures  all  over  Pick- 
fair,  things  brought  from  Doug's  and 
Mary's  many  trips  abroad;  but  after  lunch 
was  to  come  the  big  treat  of  the  visit — a 
trip  into  the  attic  with  Mary  to  look  at 
the  gorgeous  jade  and  coral  and  crystal 
Buddhas,  the  cloisonnes  and  enamels,  the 
rare  vases  and  other  lovely  things,  which 


they  brought  home,  but  have  not  yet  ar- 
ranged. 

"What  a  gorgeous  time  Gwynne  or  may- 
be her  children  will  have  in  this  attic  some 
day!"  Patsy  exclaimed. 

Mary  picked  up  a  lovely  amber  vase,  but 
we  noted  that  it  was  broken. 

Mary  smiled  wistfully  as  she  gazed  at  it. 

"There's  a  story  about  this,"  she  ex- 
plained. "See  this  other  vase,  this  broken 
cloisonne?  Well,  I  bought  the  cloisonne 
because  of  this  other  one.  You  see  I  broke 
the  amber  vase  one  morning.  I  felt  very 
badly  about  it.  Then,  in  the  afternoon,  came 
a  Japanese,  bringing  a  load  of  things  for 
us  to  look  at.  Suddenly  this  vase  rolled 
off  his  load  and  broke.  He  just  looked 
at  the  floor  and  tragedy  was  in  his  gaze. 
I  spoke  up  and  said,  'Never  mind,  I'll 
take  it!'  He  brightened  like  the  dawn, 
looked  incredulous,  then  exclaimed,  a  bit 
breathlessly,  'Missy  big  man!'  That  was  the 
only  way  he  could  express  that  he  thought 
me  generous." 

There  were  a  couple  of  rose  quartz  Bud- 
dhas that  were  the  loveliest  things  of  the 
kind  I  have  ever  seen. 

And  there  was  the  humble  looking  little 
china  drinking  cup! 

But  that  cup  turned  out  to  be  one  of 
Mary's  most  choice  possessions. 

"It  is  about  three  hundred  years  old,  is 
fine  porcelain,  and  was  given  me  by  Chu 
Fong  Lee,  the  diplomat,  in  Shanghai,"  our 
hostess  told  us.     "It's  a  trick  cup." 

We  noted  in  the  center  of  it  a  little 
figure   of  porcelain. 

"You  see  it's  this  way,"  Mary  said.  "If 
a  man  drinking  wine  filled  it  just  moderately 
full,  it  would  be  all  right.  But  if  he  was 
greedy  and  tried  to  fill  it  to  the  brim — 
watch — •"  and  she  turned  some  water  into 
the  cup  out  of  a  pitcher.  Sure  enough, 
when  the  brim  was  reached,  the  water 
fell  out  of  the  bottom!  There  was  some 
sort  of  siphon  arrangement  that  let  all  the 
water  out  when  the  cup  was  over-full. 

"Imagine  a  Chinese  trying  to  keep  face 
with  that  happening!"  exclaimed  Mary. 

There  were  some  wonderful  carved 
screens,  too,  and  bits  of  ivory — and  a  Bud- 
dha's wife,  the  arm  of  which  moved!  You 
see  the  very  best  Buddha  wives  always  have 
either  an  arm  or  a  foot  that  moves. 

There  were  two  perfectly  exquisite 
kimonos  that  had  been  given  to  Mary  in 
Kyoto. 

"The  Japanese  women  love  to  copy  us," 
Mary  said.  "They  will  examine  you  as 
minutely  as  you  will  let  them,  if  you  go 
to  their  homes  or  their  geisha  houses. 

"We  went  to  a  geisha  house  where  a 
party  was  given  us,  and  the  tiny  little 
geisha  girls  swarmed  around  me,  after  they 
had  danced,  gazing  and  gazing  at  my 
clothes.  They  were  very  much  interested 
in  the  polish  on  my  nails.  It's  pink,  you 
see.  They  wanted  to  know  if  it  was  the 
same  pink  that  I  used  on  my  lips,  and 
they  tried  to  rub  it  off  my  nails!" 

There  were  many  other  interesting  old 
things  in  the  garret,  some  good,  some  trash. 

"Whenever  Robert  Fairbanks  gives  us 
anything,  he  always  writes  on  it,  'Many 
happy  returns  to  the  garret!'  "  Mary 
laughed.  "In  our  family  we  pass  things 
around,  and  frequently  something  comes 
back  to  the  original  donor,  but  there's  an 
understanding  there's  to  be  no  hard  feel- 
ing! Why,  that  old  lamp  there — "  point- 
ing to  a  not  too  handsome  floor  lamp — 
"has  belonged  to  everybody  in  the  family 
at  one  time  or  another." 

That  brought  to  Mary's  mind  the  old 
horse  that  had  been  in  the  family  for  years. 
When  he  grew  very  old  his  only  work  was 


for    May  1930 

once  a  year  to  be  dolled  up  and  take  a 
trip  to  some  member  of  the  family.  One 
Christmas  he  wore  overalls  on  his  front 
legs,  Boston  garters  on  his  hind  legs,  a 
straw  hat  on  his  head,  and  was  delivered 
by  Jack  Pickford  to  Doug's  front  door! 

Mary  showed  us  some  relics  she  had 
brought  from  Egypt,  and  told  how  she 
had  ridden  a  camel  to  the  pyramids. 

"But  1  had  been  on  camels  before,  and 
was  wary,"  she  said.  "I  made  sure  before 
I  mounted  that  I  was  going  to  ride  the 
very  Rolls-Royce  of  them  all." 

They  visited  the  museum  where  King 
Tut-Ank-Ahmen's  relics  are  kept,  and  found 
them  most  impressive.  Of  course,  Mary 
was  sorry  for  the  poor  little  king,  who  had 
to  take  on  his  job  at  fourteen. 

"Why,  his  shirts,  even  when  he  was 
grown,  wouldn't  have  fitted  a  young  boy  of 
today,"  she  said. 

Then  she  told  us  how  Howard  Carter, 
who  went  into  the  tomb  at  first,  you  re- 
member,  has  the  legal  right  to  commercial' 
ize  the  monarch's  belongings. 

"He  told  us,"  she  smiled,  "that  he  meant 
to  have  a  cold  cream  made  up  like  that 
discovered  in  the  king's  tomb,  and  furnish 
it  with  a  slogan,  'Tut,  tut!  I  have  used 
it!'  " 

Down  in  Doug's  suite,  Mary  showed  us 
the  dozens  and  dozens  of  silk  shirts  which 
Doug  bought  while  abroad.  And  the 
dozens  of  ties,  too. 

"And  pretty  often,"  Mary  told  us,  "I'm 
called  in  of  a  morning  to  see  whether  the 
ties  are  right  for  the  shirts  and  socks!" 

It  took  the  cleverness  of  Mrs.  Neil 
Hamilton  to  surprise  her  guests  as  well  as 
her  husband,  the  other  evening,  when  she 


12? 


gave  Neil  a  birthday  surprise  party! 

You  see,  the  party  was  to  be  at  the 
Biltmore  Hotel,  and  Patsy  and  I  expected 
that,  of  course,  it  would  be  held  in  the 
big  ball  room  or  the  dining  room,  instead 
of  which  we  were  shown  into  a  handsome 
private  suite,  which  has  even  its  own  tiny 
private  elevator. 

Mrs.  Hamilton  welcomed  us  at  the  door 
of  the  period  French  drawing  room,  looking 
lovely  in  a  long,  white  silk  evening  gown, 
in  which  she  said  she  felt  delightfully  help- 
less and  feminine. 

Neil  wasn't  there  yet.  He  had  been  told 
that  Henry  Kolker  was  giving  a  little  party, 
but  that  he  needn't  hurry,  because,  working 
during  the  day  as  he  was  doing,  it  wouldn't 
matter  if  he  was  late. 

A  crowd  of  guests  had  already  arrived, 
and  we  found  a  group  of  people  we  knew 
gathered  around  the  fireplace,  the  women's 
bright  dresses  making  a  pretty  spectacle 
against  the  delicate  colors  of  the  drawing 
room  furnishings. 

Richard  Arlen  and  Jobyna  Ralston  were 
among  the  guests,  and  Thelma  Todd,  who 
had  arrived  with  Emory  Johnson.  Thelma 
wore  a  long  pale  blue  silk  dress,  and  the 
long  black  gloves  which  are  now  so  smart 
with  evening  clothes.  Alice  Todd,  Thelma's 
sister,  was  there,  too.  Josephine  Dunn 
had  come  with  Theodore  von  Eltz. 

When  Neil  Hamilton  arrived  he  was 
greeted  at  the  door  by  his  wife  and  Henry 
Kolker,  and  then  told  that  the  party  was 
for  him,  he  took  it  all  big,  as  they  say  on 
the  set,  much  to  everybody's  gratification, 
because  we  never  do  get  over  our  delight 
in  being  able  to  give  a  surprise  party  that 
is  really  a  surprise. 


Bob  or  Grow?—  Continued  from  page  33 

note  in  that  Italian  head-dress,  though. 

Corinne  Griffith  likes  to  wear  berets,  par- 
ticularly at  the  beach,  so  she  prefers  her 
hair  bobbed  and  will  keep  it  this  way. 
Berets  are  uncomfortable  and  give  the 
head  a  bad  line  when  there  is  a  knot  to 
deal  with.  In  the  studio  she  prefers  to 
wear  wigs  for  parts  demanding  very  long 
hair.  It  is  easier  on  her  hair.  She  thinks 
the  constant  dressing  and  oiling  made  neces- 
sary by  modern  lighting  is  very  bad  for  the 
hair.  Although  a  wig  keeps  the  air  from 
her  scalp  for  long  hours  Corinne  declares 
there  isn't  any  air  on  the  sound  stages,  any- 
way, so  her  scalp  isn't  missing  a  thing! 

Although  many  women  dye  or  touch  up 
their  hair — well,  just  ask  the  hairdresser  in 
your  town  if  they  don't — few  will  admit 
it  except  to  their  closest  friends.  But  Fifi 
Dorsay  speaks  right  up  in  meeting  and 
says  that  since  she  has  been  in  professional 
work  she  makes  her  hair  'As  black  as  black.' 
"You  won't  believe  it  but  I  am  really  al- 
most blonde.  But  not  really  blonde  and 
not  really  dark.  So  I  make  me  black!" 
Perfectly  simple.  Fifi  must,  for  the  sake  of 
her  work,  have  her  hair  of  such  length  that 
the  hairdresser  can  give  her  an  individual 
coiffure  with  each  picture.  But  it  is  pretty 
short,  at  that.  The  texture  of  it  is  such 
that  it  waves  and  swirls  into  almost  any 
shape  it  is  supposed  to  be  without  actually 
being  it!  Try  it  sometime  and  keep  your 
temper.  It  takes  temperament  to  manage 
it.  And  that  Fifi  has,  and  to  spare.  Her 
personal  preference  is  to  have  her  hair 
done  in  a  pronounced  French  style,  what- 
ever happens  to  be  the  vogue  at  the  mo- 
ment, and  just  now  she  is  affecting  a  hair- 
do she  likes  very  much,  with  'funny  little 
curly-cues  and  curled  points  over  the  ears.' 

Mary  Pickford  has  enjoyed  a  short  bob, 


but  long  skirts  are  making  her  grow  it, 
just  how  long  she  has  not  decided,  but  long 
enough  to  permit  her  to  make  some  sem- 
blance of  'doing  up.'  "But  I'll  never  let 
it  grow  very  long  again,"  says  Mary.  "It 
isn't  comfortable  and  it  makes  my  head 
look  too  large."  If  she  plays  a  part  re- 
quiring very  long  hair,  Mary  will  wear  a 
wig. 

Dolores  Del  Rio  feels  that  the  modern 
tendency  is  so  much  toward  comfort,  she 
prefers  to  be  one  of  the  sufferers  for  a 
tradition.  Besides,  she  tells  me  that  her 
hair  gives  her  no  trouble.  "It  is  just  this 
— and  this.  And  it  is  done!"  I  watched 
her  do  it.  She  parts  it  right  down  the 
center  back  and  twists  the  two  divisions 
into  separate  coils,  then  puts  them  together. 
They  twist  into  one  and  then  she  winds  it 
into  a  simple  knot  at  the  base  of  her  neck 
or  over  on  one  side  or  right  up  the  back, 
whichever  way  happens  to  suit  her  mood. 
When  she  does  a  picture  requiring  her  to 
let  her  hair  flow  down  her  back — and  it 
reaches  below  her  waist — it  amuses  her  to 
see  the  effect  it  has  upon  the  men.  They 
come  up  and  talk  about  it,  take  a  bit  of 
it  in  their  hands  and  run  it  through  their 
fingers.  The  mischievous  ones  even  have 
the  temerity  to  kiss  it,  making  at  the  same 
time  some  wise-cracking  remark  that  robs 
the  familiarity  of  any  offense.  "You  would 
think  a  woman's  hair  was  a  buried  treasure 
the  way  they  go  on,"  Dolores  laughed. 

Kay  Francis  finds  herself  in  the  embar- 
rassing position  of  wanting  long  hair  and 
not  having  the  time  to  grow  it.  "Just  as 
I  get  to  the  place  where  I  think  another 
week  will  find  it  long  enough  to  turn  up, 
I  am  called  to  the  studio.  For  comfort 
give  me  the  close  bob,  but  for  my  work 
the  neck-length.  You  can  do  so  much  more 


Speaking  of  Girls — 


Jack  Mulhall 

Famous  "First  National"  motion  picture 
star  says: 

"One  thing  you  will  notice  on  viewing  any 
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Luster!... all  of  them  answer  "hair  luster." 
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SuporfluouiHAIR'allGONE 


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with  it  and  it  helps  to  give  one '  individu- 
ality. For  evening  wear  with  these  long 
skirts  it  is  almost  essential  for  smartness." 
In  "Raffles,"  starring  Ronald  Colman,  Kay 
wears  her  hair  just  a  little  longer.  It  gives 
a  softer  expression  to  her  face  and  she  is 
able  to  swirl  it  about  in  the  back  which 
takes  away  the  very  sleek  personailty 
Kay  has  become  identified  with. 

Ruth  Chatterton  is  going  to  hang  on  to 
her  loose,  rather  short  bob  which  is  cut 
just  a  little  below  the  ears.  Ruth  likes 
to  wear  close-fitting  hats  and  doesn't  want 
any  knots  or  bumps  to  be  in  her  way. 
Also,  short  hair  is  much  easier  to  care  for 
she  thinks;  and  as  she  spends  much  of  her 
time  at  the  beach  during  the*  summer  months 
she  likes  the  freedom  short  hair  gives  her. 
The  only  thing  .she  is  careful  to  do  is  keep 
it  covered  from  the  sun.  Extreme  exposure 
to  the  sun  dries  out  the  scalp  and  makes 
the  hair  brittle,  particularly  out  here  where 
the  light  is  very  strong. 

Sue  Carol  thinks  the  wind  blown  bob, 
which  she  was  one  of  the  first  to  wear, 
most  becoming  to  her  in  pictures  or  out, 
and  she  will  continue  to  wear  it.  Sue 
can't  imagine  herself  wearing  her  hair  any 
other  way.  "I  wouldn't  feel  like  myself," 
she  smiled. 

Fay  Wray  feels  the  same  way  about  her 
hair,  that  regardless  of  what  others  will 
do,  it  is  short  hair  for  her  until  the  end 
of  the  chapter.  She  likes  to  play  tennis, 
swim  and  motor,  and  thinks  short  hair  in- 
dispensable to  comfort  in  our  modern  mode 
of  living.  Her  hair  is  trained  into  waves 
so  that  for  evening  wear  .she  manages  to 
sport  a  considerable  'coiffure,'  very  neat, 
very  sleek,  close  to  her  shapely  head.  In 
a  picture,  if  one  must  have  long  hair,  a 
wig  or  part  of  a  transformation  blended 
with  one's  own  hair  is  much  better. 

Little  Mary  Brian  finally  fell  for  the  bob 
when  she  started  in  on  "The  Marriage 
Playground."  She  sacrificed  her  soft  brown 
locks  on  the  altar  of  her  art,  and  declared 
she  was  going  to  let  it  grow  long  directly 
the  picture  was  finished.  After  three  weeks 
of  shorn  tresses,  she  decided  she  liked  a 
bob  very  much,  but  because  of  the  long 
dresses  she  has  let  it  grow  enough  to  make 
little  ringlets  at  the  base  of  her  head,  and 
it  is  a  puzzle  to  know  whether  it  is  bobbed 
or  long. 

Bessie  Love  is  all  for  the  bob,  too.  Long 
enough  on  the  sides  to  fluff  up  a  little  so 
that  it  is  becoming  under  a  hat.  It  is  nice 
for  evening  wear  but  too  much  of  a  nuis- 
ance, and  anyhow,  Bessie  doesn't  think  the 
long  haired  eruption  will  have  a  healthy 
life.  The  bob  is  too  comfortable.  "Long 
hair  wears  one  out  trying  to  keep  it 
brushed,"  she  declared. 

Anita  Page  is  going  to  let  hers  grow 


anyhow,  trouble  or  no  trouble.  She  thinks 
it  is  much  more  flattering  to  a  woman's 
neck  to  have  it  turned  up  in  a  soft  knot 
at  the  back.  "Oh,  but  it's  awful  while  it's 
growing,"  Anita  giggled.  "I  have  to  wear 
part  of  a  transformation  in  this  picture  and 
I'm  lucky  to  be  playing  this  sort  of  a  part 
and  can  wear  a  transformation  because  I'd 
have  had  to  cut  it  again,  just  when  it  had 
a  good  start.  I've  tried  to  let  it  grow 
several  times  but  never  had  the  courage 
before,  and  this  summer  I'm  going  to.  At 
home  I  have  a  terrible  time.  Lucky  I  don't 
go  out  much — only  on  Saturday  nights  be- 
cause I  can  sleep  on  Sunday."  Even  as 
the  rest  of  us,  one  of  the  most  popular 
girls  in  Hollywood  indulges  in  a  little  fling 
only  on  Saturday  nights  because  she  'can 
sleep  late  on  Sunday.' 

Leila  Hyams  fussed  with  short  hair  and 
long  and  has  decided  upon  a  medium  length 
bob.  "My  neck  is  too  long  for  a  short 
bob — I  look  much  better  with  a  long  one 
that  I  can  catch  back  in  little  curls."  And 
Leila  thinks  the  short  bob  much  more 
trouble  to  care  for  than  a  long  one.  "Al- 
ways having  to  fuss  to  keep  it  trimmed 
and  waved  just  so." 

June  Collyer  thinks  long  hair  is  coming 
back,  particularly  for  the  screen.  A  girl  has 
much  more  of  a  chance  to  give  individu- 
ality to  her  characten.  ;ions  if  she  can  dress 
her  hair  differently.  If  it  is  always  bobbed 
she  feels  like  the  same  sort  of  girl  in  every 
picture.  June  did  fancy  bobbing  her  hair 
not  long  ago  but  just  before  she  made  up 
her  mind  she  contracted  for  two  pictures 
that  demanded  long  hair,  "Mile.  Modiste," 
and  "Sweet  Kitty  Bellaires."  "And  I'm 
glad,  because  I  didn't  really  want  to  bob 
it,  anyway,"  June  laughed. 

Olive  Borden  used  to  affect  the  long 
haired  bob  and  wore  it  in  luxuriant  waves 
over  her  shoulders.  Then  she  went  boyish 
and  now  wears  it  sleek  and  smooth  over 
her  tiny  head.  It  makes  her  look  very 
smart  but  she  threatens  to  change  her  style 
again  because  of  the  long  evening  dresses. 
"They  seem  to  cry  aloud  for  long  hair," 
Olive  smiled.  But,  she  is  only  going  to 
grow  a  long  bob  and  doesn't  think  she  will 
pin  it  back  very  often  but  let  it  flow  as 
she  did  formerly.  "Never  will  I  let  it  grow 
very  long,"  she  said  decidedly. 

So  the  consensus  of  opinion  seems  to  be, 
"Long  for  work  but  short  for  play,"  and 
if  that's  the  case  it  will  probably  be  re- 
flected in  feminine  America.  The  younger 
ones  still  like  to  experiment;  the  older,  more 
sophisticated  girls  are  satisfied  with  things 
as  they  are,  in  their  personal  lives  at  least. 
People  not  engaged  in  professional  work  and 
not  having  anything  but  their  personal  de- 
sires to  consider  will  probably  adopt  or 
maintain  what  most  of  the  Hollywood  girls 
term  'solid  comfort.' 


Meet  the  King  — Continued  from  page  57 

true  craftsmen  have.  That  has  given  him 
interpretations  of  characters  that  are  far 
from  routine. 

"I  have  pored  over  every  line  of 
'L'Aiglon'  for  years,"  he  says,  "and  I 
should  like  to  be  the  first  male  star  to 
play  Rostand's  famous  part.  I  should  give 
him  an  embodiment  far  different  from  that 
given  by  Sarah  Bernhardt  and  Maude 
Adams.  They  made  the  son  of  Napoleon 
a  despairing  weakling  with  his  wings  clipped 
by  fate,  an  eaglet  who  recognized  the  fu- 
tility of  his  efforts  to  fly.  I  should  like 
to  make  him  a  great  soaring  spirit,  rising 
above  his  frail  body  and  undaunted  in  his 


proud  of.  They  are  his  two  sons — he  is 
one  of  the  rare  film  stars  who  are  willing 
to  acknowledge  that  they  have  offspring — 
and  his  ability  to  portray  roles  in  an  un- 
conventional manner.  It  is  the  electric 
crackle  in  his  voice  that  abets  him 
in  keeping  his  impersonations  from  being 
stereotyped — a  sparkle  that  is  carried  over 
into  his  singing  tones,  for  the  experts  have 
pronounced  King's  voice  to  be  exceptional 
in  that  it  is  a  baritone  with  the  lyric  qual- 
ity of  a  tenor. 

He  is  also  aided  in  making  his  char- 
acterizations unhackneyed  by  his  incessant 
zeal  for  intensive  study — the  zeal  that  only 


for     May     19  3  0 


127 


constant  efforts  to  scale  the  heights,  a  virile 
rather  than  an  effeminate  character. 

"In  the  same  way,  I  should  like  to  do 
Romeo  in  a  vein  that's  different  from  the 
accepted  one.  Usually.  he"s  presented  as  a 
young  Nordic.  I  should  like  to  make  him 
a  true  Latin  type,  fiery,  impetuous,  ardent. 
The  great  difference  would  be  shown  in 
the  tomb  scene,  when  Romeo  takes  the 
poison  himself  beside  the  bier  of  Juliet  as 
she  lies  supposedly  dead.  This  could  be 
made  a  much  more  dramatic  and  tingling 
moment  than  it  generally  is.  Ordinarily 
Romeo  is  shown  taking  the  poison  in  a 
spirit  of  utter  dejection,  baffled  and  beaten. 
I  should  like  to  depict  him  leaping  with 
gusto  for  it,  because  this  would  re-unite 
him  with  the  women  he  eternally  loves, 
and  he  would  run  to  this  life  in  the  here- 
after as  a  man  runs  forward  to  something 
happy  and  compensating." 

King  paused,  while  a  deprecating  smile 
circled  his  face.  "You  see,  I'm  essentially 
a  man  of  the  theater.  I'm  not  really  much 
good  at  anything  else.  I  ride  a  bit,  yes. 
But  my  real  absorption  is  the  world  of 
acting." 

To  do  him  justice,  he  is  much  better  at 
his  recreational  hobbies  than  he  acknowl- 
edges. He  is  a  good  swimmer,  an  accom- 
plishment which  started  his  day  regularly 
at  the  Hollywood  studios  with  a  plunge 
into  his  swimming  pool,  giving  him  that 
vital  energy  which  shows  so  brilliantly  in 
his  work.  Likewise,  since  he  took  up  fenc- 
ing for  the  sword  play  of  "The  Vagabond 
King"  and  "The  Three  Musketeers"  on 
the  stage  he  has  become  an  admirable  ex- 
pert with  the  foils,  one  of  the  first  duelists 
of  the  theater.  And  like  so  many  English- 
men, he  plays  a  good  game  of  tennis. 

It  was  likewise  the  spirit  of  'take  a 
chance,'  characteristic  of  so  many  roving 
Anglo-Saxons,  which  set  him  off  on  his 
histrionic  career.  It  was  while  he  was 
a  schoolboy  in  England  that  he  decided 
to  run  away  and  hop  into  a  theatrical 
career  before  old  age  overtook,  as  the  years 
were  passing  fast  and  he  was  then  sixteen. 
So  he  scampered  off,  unknown  to  his  family, 
and  made  his  way  to  the  repertory  theater 
which  John  Drinkwater.  who  was  later  to 
win  stage  fame  with  "Abraham  Lincoln" 
and  the  current  "Bird  in  Hand,"  was  con- 
ducting at  that  time. 

He  interviewed  Drinkwater.  who  told  the 
very  aspiring  youngster  that  he  had  nothing 


for  him  in  the  way  of  an  acting  engagement. 

"We  can,  however,  use  you,"  said  Drink- 
water gravely.  "We  have  a  position  open 
as  callboy." 

King  heard  Destiny's  voice  speaking. 
"I'll  take  it,"  he  said.  He  guessed  at  a  pos- 
sibility of  possibly  squirming  his  way  into  a 
part  in  that  fashion.  So  for  two  years 
he  gave  a  very  active  impersonation 
of  a  call  boy  about  the  theater.  And 
sure  enough,  he  was  able  to  tuck  himself 
away  in  several  minor  roles.  Thus  he 
entered  the  theater  by  'wriggling  under 
the  tent,"  so  to  speak.  But  his  was  the 
unquenchable  spirit  that  would  not  be  kept 
out.  And  he  was  gaining  valuable  ex- 
perience. 

All  this,  however,  was  rudely  terminated 
by  the  war.  His  adventurous  spirit  for- 
bade him  to  stay  safe  at  home,  playing 
at  heroics  while  other  men  were  doing  them. 
So  he  enlisted  by  the  simple  process  of 
adding  several  years  to  his  age.  In  this 
way  he  went  to  the  front,  saw  action  and 
was  wounded — very  severely.  His  face 
was  badly  torn,  the  worst  place  of  all  for 
an  actor  to  be  injured.  But  by  the  mir- 
acles of  modern  surgery  evoked  by  the 
war  it  was  patched  together  so  that  it  was 
not  noticeable.  King  himself  makes  light 
of  his  war  wounds  and  his  services,  but 
he  was  decorated  for  valor. 

Undaunted  by  his  war  experience,  he 
kept  from  showing  signs  of  either  the  moral 
or  physical  shell-shock  which  other  soldiers 
sometimes  displayed,  and  plunged  again 
into  theatrical  work.  But  his  dynamic  spirit 
seemed  for  a  time  to  be  check-reined.  En- 
gagements were  hard  to  find,  especially  in 
view  of  the  parlous  state  of  English  theatri- 
cals following  the  war. 

It  was  only  when  he  appeared  in  a 
special  performance  of  "Pygmalion  and 
Galatea"  that  he  won  enough  notice  to 
achieve  a  London  hearing.  After  a  short 
period  on  the  English  stage  he  came  to 
America,  and  here  his  success  has  been 
unquestioned.  He  even  received  the  dis- 
tinction of  being  included  in  a  Theatre 
Guild  presentation,  that  of  "Back  to  Me- 
thuselah," which  stage  stars  now  regard 
as  an  accolade. 

It  has  taken  him  an  even  shorter  period, 
to  judge  by  the  acclaim  given  to  "The 
Vagabond  King,"  to  achieve  an  even  greater 
accolade  on  his  first  bow  with  the  talking 
screen. 


Jazz,  Gershwin  and  Me 

Continued  from  page  19 


for  the  stage.  The  ideal  Vitaphone  light 
opera  when  it  is  written  will  be,  in  my 
judgment,  exactly  like  the  ideal  stage  light 
opera,  save  for  the  wider  scenic  scope 
afforded  by  the  motion  picture  camera. 
That,  of  course,  is  a  difference  of  consid- 
erable importance;  but  it  does  not  affect 
the  composer's  share  in  the  matter. 

The  thought  that  constantly  amazes  and 
delights  me  is  that  these  operettas  of  mine 
which  I  shall  write  in  the  future  will  not 
be  confined,  when  produced,  to  six  or  seven 
of  the  great  cities  of  the  world,  but  will 
go  literally  everywhere. 

It  is  the  greatest  of  modern  miracles. 

Two  years  ago,  I  saw  the  United  States 
for  the  first  time.  I  was  here  only  for 
a  fortnight,  in  New  York  and  its  vicinity. 
Now  I  have  come  again  and  have  crossed 
the  continent  to  that  unbelievable  center 
of  production  whence  have  come  so 
many  pictures  that  I  saw  in  Europe.  To 


find  myself  in  California,  in  Hollywood,) 
is  like  a  dream. 

For  I  have  always  been  what  you  call 
a  fan.  I  have  regularly  gone  to  the  cinema 
since  the  early  days,  before  the  Great  War. 
And.  as  the  motion  pictures  are  unquestion- 
ably Americanizing  the  world,  they  Ameri- 
canized me  years  ago.  Thus,  I  do  not  feel 
that  I  am  in  a  foreign  land. 

There  are  only  two  things  that  I  wish 
were  otherwise  in  the  United  States — and 
both  these  matters  are  quite  personal.  I 
wish  that  people  would  not  spell  my  name 
with  two  esses  at  the  end;  and  I  wish 
they  would  not  compliment  me  on  "The 
Blue  Danube  Waltz,"  which  was  written 
by  Johann  Strauss,  not  by  me.  At  a  lun- 
cheon which  was  very  kindly  given  in  my 
honor  in  New  York  a  famous  bandmaster 
and  composer  made  a  graceful  reference 
to  this  celebrated  work. 

I  could  only  blush  in  silence. 


The  Loveliest 


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Fantastic  Hollywood—  Continued  from  page  34 


cheeks  really  are  pink  and  white  and  that 
her  hair  really  is  as  soft  and  silky  as  you 
dreamed. 

"Marion  Davies  is  far  and  away  better 
off  the  screen  than  on.  She  has  a  tre- 
mendous attractiveness.  I  think  the  way  ■ 
she  speaks,  with  that  slight  stutter,  is  ab- 
solutely fascinating.  And  she  is  infinitely 
more  beautiful  off  the  stage  than  on  because 
on  the  screen  her  make-up  hides  one  of  her 
best  features.  She  has  lovely  almond-shaped 
eyes  but  when  they  are  made  up  they  look 
quite  round,  like  goo-goo  eyes. 

"Alice  White,  to  me,  is  the  Spirit  of 
Hollywood.  She's  a  real  little  cutie.  Ab- 
solutely made  by  Hollywood;  you  would 
not  see  her  anywhere  else  on  earth.  She's 
a  little  blonde  who  puts  on  this  delightful 
doll  pretense  and  with  an  unusual  sense  of 
humor  laughs  at  herself  even  while  she's 
doing  it. 

"Now,  as  to  the  men.  There  is  Ronald 
Colman,  who  is  amazingly  shy.  It  is  so 
uncontemporary  to-day  to  be  self-conscious. 
In  the  Edwardian  days  it  was  all  right. 

"For  instance,  at  Bessie  Love's  wedding, 
great  crowds  of  fans  had  gathered  outside. 
When  Colman  stepped  out  after  the  wed- 
ding, the  crowd  was  thrilled  to  see  him  and 
they  cheered  tremendously.  But  Colman 
didn't  show  any  enthusiasm  for  the  crowd. 
He  drew  himself  up  straight  as  a  ramrod 
and  looked  neither  to  the  left  nor  to  the 
right.  I  think  that  was  a  mistake.  He 
could  just  as  easily  have  shown  in  some 
way  that  he  was  glad  they  felt  so  en- 
thusiastic about  him. 

"However,  two  other  men  far  exceeded 
my  screen  impressions  of  them.  Gary 
Cooper  was  the  first.  His  off-stage  per- 
sonality is  so  much  finer  than  what  the 
camera  catches.  Now,  don't  mistake  me, 
I  think  he  is  splendid  on  the  screen,  one 
of  the  best  there  is;  but  off  the  screen — 
well,  you  will  just  have  to  meet  him  your- 
self and  then  you  can  judge  how  interesting 
he  is. 


"Jack  Oakie  is  absolutely  stupendous  off 
and  on  the  screen  because  of  his  amazing 
vitality.  He  cracks  just  as  wise  off  the 
stage  as  on.  He  seems  the  best  sort  in  the 
world. 

"One  of  the  things  I  did  in  Hollywood 
was  to  photograph  nearly  all  of  the  stars 
with  the  mechanical  part  of  the  studio  as 
background.  I  loved  doing  that — taking 
them  back-stage.  I  liked  watching  the  work- 
men in  all  seriousness  making  a  balustrade 
out  of  canvas  or  making  a  sea  out  of  net. 
I  loved,  too,  having  an  exquisite  breakfast 
with  a  screen  star  who  had  grown  a  tre- 
mendous scraggly  beard  for  some  he-man 
part,  and  then  watching  him  rushing  away 
from  the  silver  service  and  the  old  Crown 
Derby  dishes  to  the  studio  where  he  would 
put  on  a  sweaty  garment  and  begin  por- 
traying a  beggar  role. 

"I  love  the  complete  recklessness  of  Hol- 
lywood. They  never  count  the  cost  of  any- 
thing if  they  think  it  will  bring  them  a 
good  cinema  role. 

"Mothers  dip  their  children's  heads  into 
the  dye  pot — even  though  it  may  mean 
that  the  child  will  be  entirely  bald  at 
twenty — if  there's  the  slightest  hope  of 
their  developing  into  a  Baby  Peggy. 

"I  have  never  seen  so  many  beautiful 
people.  Everyone  there  is  beautiful  ex- 
cept those  blue-faced  song-writers.  But  on 
Hollywood  Boulevard  there  are  few  intelli- 
gent faces.  I  saw  more  blank  countenances 
on  the  Boulevards  there  than  I  ever  saw 
congregated  in  any  one  place  in  the  world. 
The  people  in  Hollywood  are  so  photo- 
graphically beautiful  they  fail  to  register 
anything  else. 

"Going  to  Hollywood  is  like  reading 
'Alice  in  Wonderland'  for  the  first  time. 
It  is  one  of  the  most  glorious  experiences 
in  life.  But  it  is  an  experience  that  can 
come  only  once.  Fantastic,  mad,  crazy, 
incredibly  faulty  in  good  taste — as  this  city 
is — nevertheless.  I  loved  Hollywood!" 


Ask  Me  —  Continued  from  page  104 


inches  tall  and  weighs  114  pounds.  Vir- 
ginia Lee  Corbin  was  born  Dec.  5,  1910,  in 
Prescott,  Arizona.  She  is  5  feet  5  inches 
tall,  weighs  118  pounds  and  has  blonde 
hair  and  blue  eyes. 

Eddie  S.  of  Cliffside,  H-  ]■  Be  seated, 
gentlemen,  while  we  recover  from  the  usual 
round  of  applause.  I  thank  you,  Eddie, 
for  your  appreciation.  We  aim  to  please. 
You  can  write  to  Nancy  Drexel  at  Fox 
Studios,  1401  No.  Western  Ave.,  Holly- 
wood, Cal.  Clara  Bow  is  on  contract  to 
Paramount. 

Curly  of  California.  You  little  pepper- 
mint, your  well-flavored  comments  on  my 
department  were  delicious  and  not  hard  to 
swallow  and  I'm  ready  for  another  dose. 
James  Murray  was  born  Feb.  6,  1901,  in 
New  York  City.  He  has  green  eyes,  brown 
curly  hair,  is  5  feet  lP/o  inches  tall  and 
weighs  178  pounds.  His  latest  picture  is 
"The  Shanghai  Lady"  with  Mary  Nolan. 
Jimmy  shared  honors  with  Lon  Chaney  and 
Betty  Compson  in  "The  Big  City." 
Mathew  Betz  was  Red,  the  naughty  crook, 
in  the  same  film.  William  Haines'  new 
picture  is  "Navy  Blues"  with  Anita  Page. 
You  can  write  him  at  Metro-Goldwyn- 
Mayer  Studios,  Culver  City,  Cal. 


Helene  M.  of  Havana,  Ar\.  An  old  pal 
of  Gary  Cooper's  of  Sunnyside  Ranch  in 
Montana!  Gary's  home  address  is  unknown 
to  me  but  he  will  get  your  letter  if  ad- 
dressed to  Paramount  Studios,  545 1  Mara- 
thon St.,  Hollywood,  Cal. 

A  Sargeant  Girl  from  Cambridge,  Mass. 
Nancy  Carroll  and  Anita  Page  will  be 
thrilled  when  I  tell  them  what  favorites 
they  are  at  your  college.  Anita  is  5  feet 
2  inches  tall  though  she  looks  taller  in 
some  of  her  films.  Nancy  Carroll  is  ?  feet 
4  inches  tall  and  has  auburn  hair  and  blue 
eyes.  Nancy  was  born  in  New  York  City 
and  Anita  in  Murray  Hill,  Flushing,  L.  I. 
She  is  not  married.  Since  .playing  in 
"Broadway  Melody,"  Anita  has  appeared 
in  "Our  Modern  Maidens,"  "Speedway," 
and  "Navy  Blues." 

Evelyn  of  East  Providence.  If  a  serious 
thought  ever  entered  what  I  laughingly  call 
my  head,  I'd  devote  pages  to  thanking  all 
my  girl  and  boy  friends  for  their  appreci- 
ation of  this  department,  but  words  fail 
me  so  let's  get  down  to  the  usual  business 
and  consider  everybody  thanked.  Neil 
Hamilton  was  born  Sept.  9,  1899,  in  Lynn, 
Mass.  His  wife  is  Elsa  Whitner,  nonpro- 
fessional.    You  can   write  to  him   for  a 


for     May     19  30 

photograph  at  Paramount  Studios. 

Miss  F.  M.  F.  of  Santa  Ana,  Cal.  How 
does  one  get  by  the  gate  man  at  the  Holly- 
wood studios  or  does  one?  That's  the 
answer,  does  one?  Lily  Damita,  Bebe 
Daniels,  Lupe  Velez,  Alice  White,  Mar- 
garet Livingston  and  Mary  Nolan  are  not 
married.  Colleen  Moore  is  the  wife  of 
John  McCormick,  her  manager.  Phyllis 
Haver  is  Mrs.  William  Seeman  and  has  re' 
tired  from  the  screen.  Dorothy  Mackaill 
was  the  wife  of  Lothar  Mendez  but  is  now 
divorced.  Constance  Talmadge's  first  hus- 
band  was  Mr.  Piageliou,  a  millionaire 
tobacco  merchant;  the  second  was  Capt. 
Mcintosh  and  the  third,  and  present,  is 
Townsend  Netcher. 

Amy  S.  from  Valley  Stream,  7s[.  T. 
You're  right,  I'm  the  informational  lady 
of  the  great  and  near-great  stars  of  Holly- 
wood, giving  you  value  minus  cost  of  pro- 
duction. How's  that?  Janet  Gaynor  sings, 
talks  and  dances  with  Charlie  Farrell  in 
"Sunny  Side  Up"  from  the  Fox  Studios, 
1401  No.  Western  Ave.,  Hollywod,  Cal. 
Billie  Dove  and  Richard  Barthelmess  can 
be  reached  at  First  National  Studios,  Bur- 
bank,  Cal.  Mary  Brian  of  Paramount  Stu- 
dios, 5451  Marathon  St.,  Hollywood,  Cal., 
appears  in  "The  Marriage  Playground" 
with  Fredric  Marsh,  Philippe  de  Lacy,  Anita 
Louise  and  Little  Mitzi,  the  new  cutie 
that  bears  watching.  Lillian  Gish  will  be 
seen  in  her  first  talking  picture,  "The 
Swan,"  from  the  United  Artists  Studios, 
1041  No.  Formosa  Ave.,  Hollywood,  Cal. 

Dorothy  of  Indianapolis.  How  long 
does  it  take  a  star  to  answer  a  letter? 
Forsooth  and  what  not!  You've  got  me 
running  fast  on  that  one.  Write  to  Ramon 
Novarro  at  Metro-Goldwyn-Mayer  Studios, 
Culver  City,  Cal.,  and  ask  for  his  photo- 
graph— he  may  send  you  one  and  surprise 
you.    Stars  are  funny  that  way. 

Belle  of  Broadway,  Missouri.  No,  I  do 
not  give  advice  about  adopting  the  long 
skirts — consult  your  nearest  upholsterer  or 
let  your  figure  be  your  guide.  Rudolph 
Valentino  was  born  in  Castellaneta,  Italy. 
Nils  Asther's  last  release  was  a  silent  pic- 
ture, "The  Single  Standard,"  with  Greta 
Garbo.  Nils  uses  his  own  name  on  the 
screen.  He  was  born  in  Malmo,  Sweden, 
on  Jan.  17,  1901.  He  is  reported  engaged 
to  Vivian  Duncan,  one  of  the  famous  Dun- 
can Sisters  who  appear  in  "It's  a  Great 
Life,"  a  talking,  singing  and  dancing  pic- 
ture with  Lawrence  Gray. 

Tim  Brady  of  Vancouver.  How  do  I 
like  our  new  paper  money?  Whose  money? 
Marie  Prevost  has  very  dark  brown  hair, 
blue  eyes,  is  5  feet  4  inches  tall,  weighs 
123  pounds  and  is  31  years  old.  Mary 
Brian  is  5  feet  2  inches  tall,  weighs  105 
pounds  and  has  brown  hair,  hazel  eyes  and 
was  22  years  old  on  Feb.  17,  1930.  Joan 
Crawford  has  brown  hair,  blue  eyes,  weighs 
120  pounds,  is  5  feet  4  inches  tall,  and 
was  born  on  March  23,  1908.  Lupe  Velez 
has  black  hair,  brown  eyes,  is  5  feet  5 
inches  tall,  weighs  115  pounds  and  is  19 
years  old. 

Two  Florida  Huts.  Step  up  and  meet 
the  Georgia  Crackers.  Your  confessed  ad- 
miration for  this  department  is  welcome  but 
now  that  I  have  it,  what  am  I  going  to  do 
with  it?  Evelyn  Brent  was  born  in  Tampa, 
Fla.,  Vera  Reynolds  in  Richmond,  Va.,  and 
Olive  Borden  in  Norfolk,  Va.  Olive's 
latest  picture  is  "Dance  Hall"  with  Arthur 
Lake.      Ivy    Harris    was    born     in  New 


129 


Orleans,  La.,  about  21  years  ago.  She  is 
5  feet  4  inches  tall,  weighs  123  pounds 
and  has  blue  gray  eyes  and  dark  brown 
hair.    Ivy  is  no  longer  in  pictures. 

A  Questioner  from  Chicago.  Don't  take 
life  so  seriously— you'll  never  get  out  of  it 
alive  at  that.  You  can  write  to  Conrad 
Nagel  at  Metro-Goldwyn-Mayer  Studios, 
Culver  City,  Cal.  Conrad  was  loaned  to 
United  Artists  to  play  with  Lillian  Gish 
and  Rod  La  Rocque  in  "The  Swan." 
Evelyn  Brent,  William  Powell  and  George 
Bancroft  can  be  reached  at  Paramount 
Studios,  5451  Marathon  St.,  Hollywood, 
Cal.  George  Bancroft  was  born  Sept.  30, 
1882,  in  Philadelphia,  Pa.  He  is  6  feet 
2  inches  tall,  weighs  195  pounds  and  has 
brown  hair  and  eyes.  His  wife  is  Octavia 
Broske,  a  retired  professional.  They  have 
a  daughter  who  is  about  10  years  old. 

Bess  of  Shreveport,  La.  What  do  I 
know?  Sounds  like  a  theme  song.  Write 
to  Charles  Farrell  at  Fox  Studios,  1401  No. 
Western  Ave.,  Hollywood,  Cal.  You'll  be 
seeing  him  in  "Happy  Days,"  the  Fox 
revue.  His  next  picture  is  "Playmates" 
with  Janet  Gaynor.  Charlie  has  brown  eyes 
and  hair,  weighs  175  pounds  and  is  6  feet 
2  inches  tall.  His  hobbies  are  golf,  tennis, 
swimming  and  sailing. 

LilZ  from  Tampa,  Fla.  I'm  no  sooth- 
sayer, magician  or  what  have  you  so  I'm 
not  the  one  to  say  if  Clara  Bow  will 
answer  your  letter  but  don't  be  scared — 
go  on  and  write  her.  "The  Humming 
Bird"  will  be  her  next  picture.  Gloria 
Swanson  made  this  film  several  years  ago; 
now  Clara  will  do  the  talking  version  at 
Paramount  Studios,  5451  Marathon  St., 
Hollywood,  Cal. 

Catherine  S.  of  Sehastpoal,  Cal.  You 
want  me  to  tip  off  the  editor  of  Screen- 
land  to  devote  more  space  to  your  favorite, 
Ramon  Novarro — now  I  ask  you,  have  we 
ever  sallied  forth  without  Ramon  among 
those  present?  His  singing  and  talking 
with  just  a  wee  bit  of  an  accent  is  one  of 
the  high  lights  of  his  latest  picture,  "Devil 
May  Care."  His  leading  lady  is  Dorothy 
Jordan,  whose  fan  mail  will  swamp  the 
postal  authorities  in  Hollywood  since  the 
picture  has  been  universally  released. 

Little  'Hell  and  Angel  Eyes.  With  a 
song  in  my  heart  and  a  smile  on  my  pan 
(just  a  flash,  you  know)  I  never  take  any 
of  you  seriously.  If  I'd  tell  my  age  I 
might  give  the  wrong  number.  Sue  Carol 
is  5  feet  3  inches  tall  and  weighs  108 
pounds.  Evelyn  Brent  is  5  feet  4  inches 
tall  and  weighs  112  pounds.  Marion 
Byron,  who  appears  in  "The  Forward 
Pass"  with  Douglas  Fairbanks,  Jr.  and 
Loretta  Young,  is  a  native  of  Dayton,  Ohio. 
Birthday  on  March  16,  1911.  She  has 
dark  brown  hair,  blue  eyes,  is  5  feet  tall 
and  weighs  95  pounds. 

Mrs.  H.  S.  of  'Washington,  H-  /.  Life 
is  just  one  question  mark  after  another 
with  me  for  no  special  reason  but  it's  a 
great  break  for  ye  fan  friends.  Agnes 
Franey  was  born  in  New  York  City  about 
18'  years  ago.  She  is  5  feet  tall,  weighs 
100  pounds  and  has  blue  eyes  and  waved 
gold  hair,  if  you  know  what  I  mean.  She 
appeared  in  the  Ziegfeld  Follies  and  in  the 
stage  production  of  "Rio  Rita."  Marjorie 
White  from  the  musical  comedy  stage  is 
a*  new  screen  player  who  clicks  right  mer- 
rily in  "Sunny  Side  Up"  with  Janet  Gaynor. 


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130 


SCREENLAND 


thanks,  vanity  fair,  for  proving  the 
smart  set's  interest  in  screenland 


DEAR  Screenland  readers,  all  those  of  you 
who  gave  up  reading  Vanity  Fair  when 
that  brilliant  publication  omitted  capital 
letters  in  its  titles,  take  heart  and  return  to  the 
fold.  A  great,  important  and  momentous  decision 
has  been  reached.  The  noble  experiment  has  been 
tried  and  by  demand  of  its  readers,  a  referendum 
perhaps,  those  capital  letters  will  be  restored! 

([But  hark,  listen  to  the  mocking  bird.  The 
'swankiest1  magazine  of  them  all  seems  to  have 
'gone  movie1  and  has  sensed  that  its  blue-blooded 
and  aristocratic  readers  are  interested  in  pictures, 
screen  stars,  Hollywood  and  screen  magazines, 
"even  as  you  and  I."  Now  that  makes  it  unan- 
imous,  and  that's  why  Screenland,  at  the  head 
of  this  page,  takes  off  its  hat  (and  capital  letters) 
to  Vanity  Fair. 

([  Yet  there's  more  to  it  than  that.  Birds  of  a 
feather  flock  together  and  Vanity  Fair's  astute 
editor  has  doubtless  noticed  that  under  Delight 
Evans1  editorial  direction  Screenland  has  become 
"America's  Smart  Screen  Magazine"  and  that  it's 
not  at  all  unlikely  that  thousands  of  Vanity  Fair 
readers  may  now  be  counted  among  Screen  land's 
remarkable  circulation  growth. 

([We're  ready  to  root  for  any  brother  publisher — 
and  no  charge  for  the 
advertising  —  whose 
magazine  brings  enter' 
tainment  into  the  lives 
of  Screenland's 
readers;  and  because 
you've  'gone  movie,' 
Vanity  Fair,  we  hope 
that  all  of  our  readers, 
when  they  go  to  the 
newsstand,   will  say: 


"Screenland  and  Vanity  Fair." 

C[  We  would  have  done  this  much  for  the  two 
excellent  features  in  your  current  issue:  "Art  in 
the  image  of  Gloria  Swanson,"  by  Miguel  Covar' 
rubias,  and  "Hollywood,  a  Minority  Opinion,"  by 
George  Abbott.  If  we  were  hesitant,  all  doubts 
would  have  been  removed  because  of  the  artistic 
portraits  of  Dorothy  Mackaill  and  Ilka  Chase;  but 
the  one  big  thing  that  makes  it  impossible  to  resist 
boosting  you  is  that  priceless  fun-poking  contribu- 
tion  entitled:  "My  Love  Life — By  Dulcimer  Dear, 
as  told  to  'Delight'  Morgan."  Oh,  Vanity,  here's 
another  golden  opportunity:  Show  us  a  writer 
named  'Delight'  Morgan  and  Screenland  will  be 
'delight-ed'  to  give  you  another  bouquet. 

C[  One  magazine  cannot  take  all  the  honors  for 
recognizing  Screenland,  however.  There's  a  little 
pocket-size  periodical  called  Current  Reading  that 
has  become  quite  the  thing  among  folks  seeking  an 
open  door  to  mental  growth.  It's  on  sale  at  all 
newsstands  for  twenty-five  cents  and  contains 
selected  gems  from  all  the  leading  magazines,  usua- 
ally  thirty  articles  of  general  interest,  sort  of  a 
composite  magazine  of  magazines.  Its  selecting 
board  of  editors  aims  to  pick  the  cream  of  publica- 
tions and  writers,  condensing  the  articles  without 
sacrifice  of  original  thought  or  style.  Since  hun- 
dreds of  daily  news- 
papers throughout  the 
country  are  now  quot- 
ing Screenland,  it 
has  been  selected  as 
the  standard  of  excel- 
lence among  screen 
publications  by  the 
editorial  board  of 
Current  Reading. 

The  Publishers 


Milton  C.  Work,  authority  on  bridge,  as  he  appears  in 
a  Vitapkone  Varieties  film,  in  which  he  illustrates  some 
of  the  fine  points  of  the  game.    Many  screen  devotees 
are  also  bridge  addicts. 


.7 


RE  D 


BLUE 


G  R.E  £  m 


BLACK 


~Yke  Aina^teAt  compact  imaqlnabLe 
....t/et  only  50 ]k  and  *1 


YOU  CAN  scarcely  believe  it  at  first.  Such  de- 
lightful compacts — so  gaily  colorful,  so  in- 
triguingly  chic — -for  such  astoundingly  low  prices. 
You'll  want  one  to  match  each  costume — a  mode 
adopted  by  the  very  smartest  women. 

Then,  after  you  have  admired  the  outside  of  the 
case — open!  Inside  a  generous  supply  of  exquisite 
powder — soft,  clinging,  delicately  fragrant.  And 
(if  you  choose  the  double  compact)  rouge  as  well 
— unbreakable  mirror,  two  puffs.  Refills  always 
obtainable.  Look  for  these  Tre-Jur  compacts  in 
your  favorite  shop  today.  Single,  50c;  double,  $1 
— in  red,  blue,  green  or  black. 


TRE  » JUR 


If  your  dealer  cannot  supply  you,  order  direct,  enclosing  price 
and  stating  color  of  case  and  shade  of  powder  (flesh  or  rachel) 
desired.  Address  House  of  Tre-Jur,  Inc.,  Dept.  L,  19  West  18tk 
Street,  New  York  City. 


Ch 


arming 


No  one  has  ever  successfully 
analyzed  the  quality  of  charm  in 
a  woman  .  .  .  and  no  one  can 
adequately  describe  the  deep 
satisfaction  to  be  found  in*  a 
really  good  cigarette.  And  it  may 
well  be  that  the  two  have  some- 
thing in  common,  since  so  often 
they  occur  together  .  .  .  for  in  sur- 
prising proportion  you  will  find 
Camels  the  acknowledged  favor- 
ite of  women  of  poise  and  charm. 


i  1930,  R.  J.  Reynolds  Tobacco  Co.,  Winston-Salem,  N.  C. 


-2- 


HY  I  SPEND  $250,000  A  YEAR 

CLOTHES  .  .  BY  CONSTANCE  BENNETT 
BROMFIELD'S  HOLLYWOOD  IMPRESSIONS 


All  of  MAUPASSANT'S 

Matchless  Tales  in 
One  Beautiful  Book 


Less  than  an  inch 
and  a  half 

thick 
More  than 
1000  pages 


All  in 

ONE 


222  Stories 


Exactly  Translated 
from    the  French! 


Love 
Virtue! 

Virtue  in  the  Ballet 
The  Venus  of  Braniza 
The  Love  of  Long 
Ago 

A  Mesalliance 
The  Rendezvous 
Under  the  Yoke 
Mademoiselle 
A  Passion 
The  Duel 
Moonlight 
The  Bed 
The  Devil 
Ball-of-Fat 
Magnetism 

A  Wife's  Confession 
The  Story  of  a  Farm 
Girl 


Letter  Found  on  a 

Corpse 
In  His  Sweetheart's 

Livery 
Bed  No.  29 
Fecundity 
In  the  Wood 
Am  I  Insane? 
Words  of  Love 
The  Charm  Dispelled 
A  Fashionable  Woman 
The  Diary  of  a  Madman 
A  Way  to  Wealth 
Waiter,  A  Bock! 
Margot's  Tapers 
One  Phase  of  Love 
A  Strange  Fancy 
The  Wedding  Night 
A  Little  Waif 
Useless  Beauty 

And  167  more! 


Woman's  Wiles 
Room  No.  Eleven 
A  Queer  Night  in  Paris 
The  Diamond  Necklace 
The  Sequel  to  a  Divorce 
A  Dead  Woman's 

Secret 
Graveyard  Sirens 
The  Mad  Woman 
Forbidden  Fruit 
The  Impolite  Sex 
The   Artist's  Wife 
In  the  Moonlgiht 
Was  It  a  Dream? 
The  Conservatory 
Love's  Awakening 
The  New  Sensation 
Mother  and  Son   !  !  ! 
The  Farmer's  Wife 
The  Carter's  Wench 


Nowonly 

$£>98 


WALTER  J.  BLACK  ,  inc 
S7I  Madison  Avenue 

NEW  YDftK  C1ZX  HX 


INTO  each  one  of  these  222  short  story- 
masterpieces,  the  daring  Guy  de  Maupas- 
sant, impelled  by  a  fiercely  burning  desire  to 
tell  the  truth  about  French  life,  love  and 
wickedness,  has  packed  enough  emotional 
action  to  serve  an  ordinary  writer  for  a  life- 
time. Now  all  of  these  pagan,  frank  and  im- 
mortal tales  have  been  collected  within  the 
covers  of  a  single,  beautiful  book  no  more  than 
an    inch   and    a   half   thick.      It    is   bound  in 


gold-stamped,  Morocco-grained 
cloth,  printed  in  large  type  on 
the  finest  thin  paper. 


No 
given 


WALTER   J.   BLACK,    Inc.    (Dept.  1086) 
171   Madison  Ave.,  New  York    N.  Y. 

Gentlemen:  Send  me  for  free  examination  your  new  one- 
volume  edition  of  Guy  de  Maupassant's  Complete  Short 
Stories,  1000  thin-paper  pages  printed  in  large,  clear  type; 
Morocco-grained  cloth  binding,  stamped  in  gold.  I  will 
either  return  book  at  your  expense  or  send  you  $2.98  in 
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other  wrtier  before  or  since  has 
you   such   stories.     No   other  man 

 t     ever   pictured   Trench  love, 

and    passion    so  accurately 
clearly. 

Every  short  story  Maupassant 
ever  wrote — 222  complete  tales 
— are  collected  in  this  one  vol- 
ume, each  one  translated  into 
English  word  for  word  from  the 
original  French,  complete  authen- 
tic and  unabridged  for  only  $2.98. 


Never  before  this 
book  was  made,  had  the 
world  known  such  a  bargain 
in  entertainment.  Never  before  had 
such  a  tremendous  Maupassant  library 
been  offered  within  the  covers  of  a  single 
handsome  volume. 

Read  li  FREE! 

The  coupon  in  the  corner  of  this  page  is 
NOT  an  order  for  this  book.  It  is  a  request  to 
examine  it  for  one  week  free  I  You  need  NEVER 
buy  it  unless  you  want  to.  Fill  out  the  blank 
and  mail  it  at  once.  We  will  send  a  copy 
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You  can  not  lose!     Mail  the  coupon  at  once. 


"Build  A  One  Volume  Library  " 


MAY  -2  1930 

4 


ClB  70491 


Delight  Evans,  Editor 

June,  1930 


THIS  MONTH'S  PROGRAM: 


Cover  —  Joan  Crawford. 

Painted  by  Rolf  Armstrong 

Sound  News.   By  Evelyn  Ballarine    ....  6 

Movies  in  the  Air.  By  Julia  Shawell    ...  8 

Confessions  of  the  Fans.  Letters  from  Readers  10 

Honor  Page  —  John  McCormac\   14 

The  World  Do  Move. 

A  Drawing  by  C.  D.  Batchelor    ....  16 

Editorial.   By  Delight  Evans  17 

The  Most  Famous  Movie  Fan  in  the  World. 

By  Rosa  Reilly   18 

We  Want  Buddy!   Charles  'Buddy'  Rogers. 

By  Gray  Strider  20 

Unsung  Stars  of  Hollywood. 

By  Helen  Ludlam  22 

Polly  Moran  Puts  Over  a  Theme  Song    .  24 

Louis  Bromfield's  Hollywood  Impressions. 

As  told  to  Marie  House  26 

Anagrams,  I  Love  You  28 

Elsie  Janis  Now.  By  Kenneth  Everett  ...  29 
Can  Stars'  Voices  Be  Remodeled? 

By  Dr.  Mario  Marafioti  30 

Why  I  Spend  $250,000  a  Year  on  Clothes. 

By  Constance  Bennett  32 

Roles  the  Stars  Would  Like  to  Play. 

Portraits   35-50 

Mrs.  Oakie's  Little  Boy,  Jack. 

By  Keith  Richards  51 

Manhattan  Merry-Go-Round. 

By  Herbert  Cruikshank  52 

Mei  Lan-Fang  and  the  Movies. 

By  Thomas  Talbott  54 

The  Stars'  Latest  Craze.  By  Gordon  R.  Silver  56 
Richard  Ddc — -A  Psycho- Analytic  Portrait. 

By  James  Oppenheim  •  .  58 


On  Location  "Under  Western  Skies/1 

By  Helen  Ludlam   60 

Arthur  Lake  Offers  a  Gift  for  Golf  .  .  62 
Hard  Work — That's  All.  Billie  Dove. 

By  Brian  Herbert   64 

Mother  Makes  Good   66 

The  Most  Beautiful  Still  of  the  Month  .  67 

Such  a  Circus  —  Bemice  Claire   68 

Marilyn  Miller  —  A  Portrait   70 

Gilbert  Roland  —  A  Portrait   71 

Lottice  Howell  —  A  Portrait   72 

John  Garrick  —  A  Portrait   73 

When  Dorothy  Dances  —  Dorothy  Mac\aill  74 

Betty  Compson  —  A  Portrait   76 

Lewis  Stone  —  A  Portrait   77 

Bebe  Daniels  — A  Portrait   78 

Dorothy  Revier- — A  Portrait   79 

What  the  Genteel  Young  Girl  May  Wear  80 

Ruth  Chatterton  —  A  Portrait   82 

The  Girl  with  the  Turned-Up  Nose. 

By  John  Godfrey   83 

Reviews  of  the  Best  Pictures. 

By  Delight  Evans   84 

Critical  Comment  on  Current  Films  ...  86 

Happy  Milestones.  By  Grace  Kingsley    ...  88 

In  New  York.  By  Anne  Bye   90' 

Come  Into  the  Kitchen  with  Alice  White. 

By  Alice  White  .    .   92 

The  Beauty  of  Daintiness.  Screenland's  Beauty 

Department.  By  Anne  Van  Alstyne  ...  94 

The  Stage  in  Review.  By  Benjamin  De  Casseres  96 

Hot  from  Hollywood.  K[ews  and  Gossip  .    .  98 

Ask  Me.  By  Miss  Vee  Dee   104 

You  are  Cordially  Invited. 

By  the  Publishers   130 


Vol. 
XXI 


Published  monthly  by  Screenland  Magazine,  Inc. 
Executive  and  Editorial  offices:  45  West  45th  Street, 
New  York  City.  William  Galland,  President; 
Joseph  M.  Hopkins,  Vice-President;  C.  B.  Mantel, 
Secretary.  Frank  J.  Carroll,  Art  Director.  Manu- 
scripts and  drawings  must  be  accompanied  by  return 
postage.      They    will    receive    careful    attention  but 


Screenland  assumes  no  responsibility  for  their  safety. 
Yearly  subscriptions  $2.50  in  the  United  States,  its 
dependencies,  Cuba  and  Mexico;  $3.00  in  Canada; 
foreign,  $3.50.  Entered  as  second-class  matter 
November  30,  1923,  at  the  Post  Office  at  New  York, 
N.  Y.,  under  the  Act  of  March  3,  1879.  Addi- 
tional  entry   at   Dunellen,    N.    J.     Copyright  1930. 


No. 
2 


Member  Audit  Bureau  of  Circulations 


for    June  1930 


/  / 


(~Tker, 


e  are 


1930  Stules  in 
Entertainment 


too. 


•  Paramount  gives  them  to  you. 
1930-style  stories.  1930-style  stars.  Smart, 
daring  New  Show  World  hits  as  new,  timely 
and  exciting  as  the  latest  from  Paris. 
Created  by  showmen  with  an  alert  ear  to 
the  pulse  of  these  changing  times.  And 
produced  in  the  typical  Paramount  quality 
manner.  Entertainment,  1930-style,  by 
Paramount  is  exhibited  at  the  best  thea- 
tres everywhere.  Your  Theatre  Manager 
will  tell  you  when.  "If  it's  a  Paramount 
picture  it's  the  best  show  in  town!9' 

PARAMOUNT  PUBHX  CORPORATION 
ADOLPH  ZUKOR,  PRES.,  PARAMOUNT  BLDG.,  NEW  YORK 


(paramount 


ON  THE  AIR!  Para- 
mount  Publix  Radio  Hoar, 
each  Saturday  Evening,  10-11 
P.  M.  EaMem  Time  over  the 
ColombjaBroadcaating  System. 


Cpictures 


World's  Greatest 
Film  Festival 


With  practically  all  of  Paramount's  stars 
in  the  cast.  Song  hits  galore,  including 
"Sweeping  the  Clouds  Away"  and  "Any 
Time's  the  Time  to  Fall  in  Love." 


MAURICE  CHEVALIER 
"THE  RIG  POND" 


Greatest  of  all 
Maurice  Chevalier 
hits,  better  even 
than  "The  Love 
Parade."  With 
Claudette  Colbert. 
AMonta  Bell  Pro- 
duction, directed 
by  Hobart  Henley. 


CHARLES  "BUDDY"R©GEI&S 
"SAFETY  IN  NUMBERS" 


Musical  romance 
with  Charles 
"Buddy"  Rogers 
learning  about  wo- 
men from  Joseph- 
ine Dunn,Virginia 
Bruce,  Carol  Lom- 
bard.  A  Victor 
SchertzingerProd. 


"THE  RETURN  OF 
DR.  FU  MANCHU" 


Thrilling  sequel  to 
"The  Mysterious 
Dr.  Fu  Manchu." 
With  Warner 
Oland,  Jean  Ar- 
thur, Neil  Hamil- 
ton, William  Aus- 
tin and  O.  P.  Heg- 
gie.  Rowland  V. 
Lee  Prod.  Story 
by  Sax  Rohmer. 


SCREENLAND 


Blossom-white  skin 

— a  bleach  cream 
is  the  secret 

Nowadays  the  skin  is  "be- 
ing worn."  And  the  perfec- 
tion of  the  ensemble  de- 
pends, as  every  woman 
knows,  on  a  blossom-white 
harmony  of  face,  neck, 
back,  arms,  and  hands. 

There  is  only  one  way 
to  achieve  that  harmony. 
Ordinary  creams  cannot 
whiten  the  skin. The  present 
vogue  requires  Golden 
Peacock — solely  a  bleach 
cream — to  wipe  away  the 
troubling  stains,  the  un- 
wanted tan,  the  summer's 
freckles,  and  leave  the 
skin  youthful,  lovely,  white. 

At  night,  a  pleasant  film 
of  Golden  Peacock.  When 
you  awake,  a  skin  rejoic- 
ing, safely  restored  to  soft 
and  natural  whiteness. 
Thousands  of  women  are 
daily  delighted  by  the 
wholesome  magic  of  Gold- 
en Peacock.  ...  At  toiletry 
counters,  in  $1  jars. 

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MGRICAN  ACADGMY 
OF  DRAMATIC  ARTS 


Founded  1884  by  Franklin  H.  Sargent 

The  foremost  institution  for  Dramatic  and 
Expressional  Training.  The  instruction  of  the 
Academy  furnishes  the  essential  preparation  for 
Directing  and  Teaching  as  well  as  for  Acting. 

The  training  is  educative  and  practical,  de- 
veloping Poise,  Personality  and  Expressional 
Power,  of  value  to  those  in  professional  life 
and  to  the  layman. 

TEACHER'S  SUMMER  COURSE 
JULY  7th  TO  AUG.  15th 
Catalog  describing  all  Courses  from  the  Secretary 
Room   253-F   CARNEGIE   HALL,   New  York 


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Yoa  can  I  earn  all  the  modem  dances— 
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und  quickly.  New  chart  method  makes 
dancine  aa  simple  as  A-B-C.  No  music  or 
partner  required.  Learn  anywhere,  any- 
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coat  $20  if  taken  privately. 

Send  No  Money 

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By 

Evelyn 
Ballarine 


Peering  at  Pictures 
in  Production 


I don't  know  whether  the  discovery  of 
a  new  planet  had  anything  to  do  with 
it  or  not  but  Columbia  Pictures  are 
on  the  hunt  for  a  future  star.  The 
only  difference  is  that  Columbia  already 
has  a  name  for  the  future  discovery  (she's 
to  be  called  Miss  Columbia,  of  course!)  and 
the  planet  was  discovered  first  and  is  still 
to  be  named.  Miss  Columbia  must  have 
youth,  beauty,  and  versatility.  Come  on, 
girls,  don't  be  so  modest — here's  your 
chance  to  crash  the  studio  gates! 

Their  ability  to  speak  more  than  one 
language  has  put  many  screen  players  on  the 
screen  map  again  or  should'  we  say,  put  their 
maps  on  the  screen  again?  You  want  proof? 
All  right — Pauline  Garon  is  grateful  to  her 
French  ancestors;  she  has  been  given  the 
feminine  lead  in  the  French  version  of 
"The  Unholy  Night."  Because  Gilbert 
Roland  knows  his  Spanish,  he  has  been 
given  the  male  lead  in  the  English  and 
Spanish  versions  of  "Monsieur  Le  Fox." 
This  film  is  to  be  made  in  five  languages; 
English,  French,  Spanish,  Italian  and  Ger- 
man.  Little  Nina  Quartero  has  the  feminine 
lead  in  the  English,  French  and  Spanish 
transcriptions.  Antonio  Moreno  and  Barry 
Norton  are  profiting  by  their  ability  to 
speak  Spanish.  They  are  to  play  in  the 
Spanish  version  of  "The  Benson  Murder 
Case."  Paramount  Pictures  are  forming 
stock  companies  to  make  films  for  the 
foreign  trade  and  this  is  the  first  film  to  be 
made. 

Marilyn  Miller  is  back  in  Hollywood  for 
her  next  talker.  "Sally,"  her  first,  was  a 
'natural'  and  clicked.  First  National  Pic- 
tures have  large  plans  for  Miss  Miller.  By 
the  way,  there's  a  diamond  on  the  third 
finger  of  her  left  hand.  Right!  She's  en- 
gaged.  Michael  Farmer,  of  Ireland,  is  the 
fortunate  man.  Young  and  wealthy,  they 
say. 

Have  you  heard  of  Greta  Garbo's 
"Romance?"  Sorry  to  disappoint  you — ■ 
it's  just  the  title  of  her  second  talker. 
Greta  plays  an  Italian  opera  singer  who 
falls  in  love  with  a  clergyman,  played  by 
Gavin  Gordon.  You've  never  heard  of  him? 
Allow  me  to  introduce  him — Mr.  Gordon, 
may  I  present  your  public?    He's  young, 


handsome,  and — oh,  see  the  picture! 

I  don't  suppose  it  matters  much  but  it 
seems  to  me  that  Zasu  Pitts  and  Cliff 
Edwards  have  the  most  individual  talkie 
voices — well,  maybe  I'm  wrong. 

Here's  a  picture  for  your  Must  list: 
"With  Commander  Byrd  at  the  South 
Pole."  It's  a  pictorial  record  of  the  ex- 
plorer's recently  finished  trip.  It  will  bt 
shown  with  a  iecture  by  Richard  E.  Byrd 
and  will  be  released  by  Paramount. 

Although  the  talkies  have  been  in  vogue 
for  over  two  years  the  following  players 
are  only  making  their  talking  debuts  now: 
Lon  Chaney,  Nils  Asther,  Molly  O'Day, 
Lew  Cody,  Buster  Keaton  and  Mary  Astor. 

Lon  Chaney  is  making  a  talkie  version 
of  "The  Unholy  Three."  He  made  the 
silent  film  some  years  ago  with  Victor 
McLaglen  and  Mae  Busch  in  his  support. 
Jack  Conway  will  direct  the  first  Chaney 
talker. 

Nils  Asther  has  been  on  a  vaudeville 
tour  and  has  been  studying  English.  It  is 
reported  that  he  will  play  in  "Eyes  of  the 
World,"  a  Henry  King  Production.  That 
is  good  news  to  Nils  Asther's  feminine 
fans  who  have  been  clamoring  for  his  pic- 
tures. 

Molly  O'Day,  reduced  to  sylph-like  di- 
mensions, is  on  the  Columbia  lot  and  work- 
ing in  "Sisters,"  with  her  sister,  Sally 
O'Neil. 

Lew  Cody  has  been  given  an  important 
role  in  Gloria  Swanson's  next  film,  "What 
a  Widow!"  Owen  Moore,  also,  has  a 
feature  part.  Gloria  will  probably  wear 
such  stunning  gowns  that  we  will  all  be 
going  in  for  'widow's  weeds.' 

Buster  Keaton's  first  talker  is  "Free  and 
Easy."  Buster  is  also  making  a  Spanish 
version  of  this  comedy  and  Racquel  Torres' 
sister,  Renee,  has  the  feminine  lead. 

Mary  Astor  speaks  for  the  first  time  in 
"Ladies  Love  Brutes."  (Oh,  yeah?)  This 
is  a  George  Bancroft  picture. 

Eddie  Cantor  is  out  in  Hollywood  making 
"Whoopee."  This  film  is  to  be  produced 
by  Samuel  Goldwyn  and  Florenz  Ziegfeld 
and  will  probably  have  some  of  the  glori- 
fied femmes  in  it. 


for    J  une    19  30 


VITAPHONE 

..brings  you  Something  Mew  Under  the  Sun/ 


is 


With  Frank  Fay  \ 

Noah  Beery — Raquel  Torres  j 

MyrnaLoy — Fred  Kohler  \ 
Armida— Tuliy  Marshall 


hundred 


ome  on  out  - 

minutes  ©I 

'T  ,  ,      .  See  a  ne* 
mirth'.  •  •  ne^ 

uina  of  h«o  ■> 

kino  of  romance. 

„f  the  »ncb°*.r,;oevetyP»io- 

^   ^  he«ofUfe. 
As  careless  ^lo^  ^aeeve 

he  catties  ha  h.eatt     cheek  as  he 

Texas  Moon    ^  lon- 

ffli"UtTot  sceo«.  ani  a  truly  al  j(?f 
-^ecause^—  . 


foe 


|        /      To  make  sure  it's  a  hit,  make  sure 
it's  a  Vitapbone picture,  produced  by 

WARNER  BROS,  or 
FIRST  NATIONAL 

"  Vitavhone"  is  the  registered  trademark  of  The 
Vitapkone  Corporation .    Color  scenes  by  the 
Technicolor  Process. 


SCREENLAND 


(Movies 

in  the 
AIR 


Movies,  Radio,  and  Phonograph 
are  Allied  Industries  with  Three- 
Way  Remuneration  for  Talent 

By  Julia  Shawell 


It  was  Ruth  Etting's  work  as  a  rad 
phonograph  record  star  that  made 
good  bet  for  pictures. 


IN  THE  infant  months  of  the  talkies 
when  producers  frantically  sought  every- 
where for  talent,  not  overlooking  the 
phonograph  business,  many  a  contract  took 
a  warbler  to  Hollywood  on  the  strength 
of  his  record  sales.  And  now  the  sing- 
ing heroes  and  heroines  of  the  screen  find 
one  of  the  first  tangible  indications  of 
their  film  popularity  in  the  offers  to  make 
phonograph  records  for  the  big  companies. 

With  the  situation  as  it  is  today,  radio, 
movies  and  the  phonograph  market  are 
becoming  a  co-operative  industry  with  a 
three-way  remuneration  for  the  featured 
players  of  the  screen  who  possess  or  who 
are  cultivating  passable  voices. 

Nick  Lucas  was  taken  in  by  Warner 
Brothers  because  of  the  tremendous  popu- 
larity of  his  music  on  the  wax  discs.  It 
is  true  he  is  an  old  vaudeville  artist 
but  his  years  in  variety  didn't  count  half 
so  much  as  the  large  number  of  his  croon- 
ing records  which  have  been  selling  over 
a  period  of  several  years.  His  parts  in 
the  Vitaphone  revues  have  not  interfered 
with  his  phonograph  career  because  his 
recent  recordings  have  proven  more  pop- 
ular than  before  he  faced  west  coast 
cameras. 

Ruth  Etting,  who  has  been  getting  plenty 
of  money  for  her  short  subjects  for  Para- 
mount and  Warner  Brothers  is  essentially 
a  phonograph  artist  who  has  been  consid- 
ered one  of  the  biggest  attractions  on 
wax.  Before  the  talkies,  she  was  the  rage 
with  those  who  like  insinuating  rhythm 
warbled  in  a  fascinating  way,  and  while 
she  has  been  active  on  the  Broadway  stage 
and  in  night  clubs  of  Manhattan  this  past 
season  it  was  her  work  as  a  phonograph 
girl  and  not  her  footlights  career  that 
made  her  material  for  the  picture  makers. 

The  latest  of  the  Hollywood  celebrities 


to  sign  with  the  Victor 
people  are  John  Boles  and 
Bebe  Daniels.  Boles,  of 
course,  has  always  pos- 
io  and.  sessed  a  wonderful  voice 

her  a  and  it  was   through  his 

stage  singing  in  "Kitty's 
Kisses"  that  he  first  at- 
tracted the  attention  of 
Gloria  Swanson  and  so  made  his  entrance 
into  the  movies  in  "The  Love  of  Sunya." 
But,  in  spite  of  his  exceptional  good  looks, 
John  was  no  sensation  in  celluloid  until 
his  voice  brought  him  to  the  fore.  It 
took  a  movie  popularity  to  put  him  on 
the  phonographs  of  the  country.  All  the 
time  he  was  in  New  York  on  the  stage 
he  never  had  a  good  chance  to  augment 
his  income  by  recordings,  but  judging  from 
the  enthusiastic  reports  of  the  disc-makers 
he  is  making  up  for  lost  years  this  season. 

If  anyone  had  told  Bebe  Daniels  three 
years  ago  that  she  would  be  working  for 
the  Victor  Phonograph  Company,  neither 
the  beauteous  Bebe  nor  her  most  enthu- 
siastic friends  would  believe  it.  It  took 
a  crisis  in  her  own  profession  to  bring 
to  Miss  Daniels  a  realization  of  her  own 
vocal  possibilities,  a  fact  of  which  the 
Victor  people  soon  took  advantage  with 
the  result  that  she  alternates  her  micro- 
phonic engagements  with  her  recording 
dates,  and  makes  a  lot  more  money 
besides. 

The  whole  entertainment  field  is  so 
revolutionized  that  the  films,  broadcasting 
and  the  talking  machine  are  all  becoming 
one  large  circle  with  each  field  borrowing 
talent  or  technique  from  one  or  both  of 
the  others.  The  result  is  materially  good 
for  those  who  are  fortunate  enough  to  fit 
into  the  new  scheme  of  things.  Execu- 
tives in  the  three  branches  of  this  great 
interwoven  business  admit  that  drawing 
power  in  one  medium  usually  promises 
equal  success,  temporary  at  least,  in  one 
of  the  other  fields.  But  the  most  accurate 
key  to  an  artist's  appeal  may  be  found 
in  the  record  sales.  There  is  no  tangible 
check-up  to  a  radio  broadcast  reception. 
Many  things  may  interfere  with  the  ex- 
hibition of  a  talkie.    A  poor  vehicle,  an 


unfortunate  booking  or  a  bad  season  may 
affect  the  film  receipts.  But  the  sales 
of  phonograph  records  tell  the  story  with- 
out any  alibis. 

That  is  why  the  amusement  chiefs  are 
curiously  watching  the  sales  of  Rudy 
Vallee's  records  right  now.  There  have 
been  rumors,  and,  of  course,  there  would 
be,  that  Vallee  is  no  longer  the  national 
fetish  he  was  a  year  ago,  that  the  great 
feminine  yen  for  this  Vagabond  Lover  is 
not  so  keen  as  it  was  when  his  inimitable 
voice  first  sent  its  thrilling  messages  out 
on  the  ether.  Some  hold  that  his  public 
appearances  were  not  the  best  thing  for 
him,  that  he  should  have  remained  cloaked 
in  the  mystery  of  the  broadcast  studio. 
Vallee  is  too  good  a  business  man  not  to 
have  followed  the  right  track.  He  got 
$10,000  a  week  while  the  going  was  good 
and  he  still  has  his  air  contracts  to  bring 
{Continued  on  page  117) 


On  the  other  hand,  it  took  screen 
popularity    to    put    John  Boles' 
voice  on  the  phonograph  records 
of  the  country. 


for    June    19  30 


9 


DOUBLE  EXPOSURE  a  OF  HOLLYWOOD 


A  NEW  CAMERA  ANGLE  ON  THE  CAMERA 
CAPITAL! 

FOIBLES  OF  FAMED  FILLUM-INARIES  REVEALED! 

FUN  ON  THE  FILM  LOTS! 

DAME  RUMOR  PLAYS  LEADING  ROLE  IN 
"SHOW  GIRL  IN  HOLLYWOOD"! 


CAMERA  WINKS   ROGUISH   EYE  AT 

DOMINANT  DIRECTORS, 
PETULANT  PRODUCERS,  AGREEABLE  YES-MEN! 

SAUCY  SLAPSAAT&CREEN  CELEBS! 

\r  jf     '■i/t  ' 

WHAT  HAPPENS-JO'  BROADWAY  STARS  IN 
HOLLYWOOD*: 


10 


SCREENLAND 


CONFESSIONS 
of  the  FANS 


FIRST  PRIZE  LETTER 
$20.00 

I  am  one  of  the  great  army  of  uninter- 
esting looking  women  you  can  see  any  day 
on  any  city  street:  last  year's  hat  camou- 
flaged under  a  bright  new  trimming;  face 
a  little  too  lined  and  tired-looking  for  her 
age;  a  mind  that  functions  something  like 
this:  how  to  make  five  dollars,  buy  Mary 
a  new  hat,  Bill  a  pair  of  trousers,  and  the 
Sunday  roast — and  wondering  if  her  stock- 
ing has  developed  a  run  big  enough  to 
show. 

But  when  romance  seems  to  have  com- 
pletely faded,  leaving  an  indigo  atmosphere 
in  its  wake;  when  the  pay  check  looks  ut- 
terly inadequate  and  the  children  are  more 
impish  than  usual,  then  my  drab,  middle- 
aged  husband  takes  his  drab,  middle-aged 
wife  to  the  movies. 

Oh,  glamourous  screen  folk,  you  bring 
back  all  the  things  we  have  lost.  Again 
we  are  gay  and  young  and  every  sacrifice 
worth-while.  The  better  half  swings  my 
hand  in  his  own  work-worn  one  as  we 
saunter  up  the  quiet  streets  homeward, 
amiably  discussing  the  whys  and  wherefores 
of  the  picture,  and  at  peace  with  the  world. 

"A  little  work,  a  little  play, 

"A  kindness  done  from  day  to  day. 

"A  little  joy,  a  little  strife; 

"And  this  is  life." 

Mrs.  Mary  Kempton, 
14  Prospect  Street, 
Mt.  Vernon,  Ohio. 


SECOND  PRIZE  LETTER 
$15.00 

This  is  not  so  much  of  a  confession  as 
the  solution  to  a  very  real  problem — that 
of  two  'young  marrieds'  in  a  large  city. 

Before  we  were  married,  we  had  been  ac- 
customed to  going  out  a  great  deal.  We 
knew  and  enjoyed  the  smart  restaurants, 
the  theaters,  opera  and  symphony  concerts. 
But  when  one  income  had  to  be  stretched 
to  cover  the  needs  of  two  we  found  the 
cost  of  these  things  prohibitive. 

It  is  terrifyingly  easy  to  grow  restless  and 
dissatisfied  with  everyone  around  you  doing 
the  things  you  would  like  to  do  but  can't 
afford!  So  we  turned  to  the  movies  for 
entertainment — and  very  good  we  have 
found  it,  too.  We  have  seen  and  heard 
the  best  of  the  Broadway  shows  on  the 
screen,  often  with  the  original  cast.  We 
can  discuss  them  with  our  friends  without 
feeling  stale  and  'out  of  things' — awful  feel- 
ing! We  hear  excellent  orchestras,  classical 
and  jazz,  our  favorite  night  club  enter- 
tainers, some  of  the  best  operatic  talent. 

The  talkies  have  played  a  leading  role 
in  helping  us  over  the  difficult  adjustments 
of  this  first  year,  and  we  know  others  in 
our  own  circle  of  acquaintances  who  have 
worked  out  the  same  problem  in  this  ex- 
ceedingly satisfactory  way. 

Mrs.  B.  P.  Steele, 
360  E.  55th  Street, 
New  York  City. 


This  is  YOUR  depart- 
ment,  to  which  you  are 
invited  to  contribute  your 
opinions  of  pictures  and 
players.  For  the  cleverest 
and  most  constructive  let- 
ters, not  exceeding  200 
words  in  length,  we  offer 
four  prizes,  First  prize, 
$20.00;  second  prize, 
$15.00;  third  prize, 
$10.00;  fourth  prize,  $5.00. 
Next  best  letters  will 
also  be  printed.  Contest 
closes  June  10,  1930. 
Letters  in  praise  of 
Screenland  are  not  elig- 
ible in  this  contest  and 
should  be  addressed  di- 
rectly to  the  Editor.  Send 
your  Confessions  to  the 
F  an  s'  Department, 
Screenland  Magazine,  45 
West  45/A  Street,  New 
York  City. 

The  Editor 


There  are  smiles  that  make  us 
happy  and  Joan  Crawford's  is  one 
of  them.  Joan  is  on  our  cover 
because  the  fans  put  her  there. 


THIRD  PRIZE  LETTER 
$10.00 

What's  wrong  with  the  movies?  A  per- 
ennial question,  spiny  as  a  cactus  plant. 
Answer:  Mimic-itis! 

A  certain  picture  sets  a  box-office  record; 
within  a  few  months,  self-same  picture  is 
surrounded  by  cousins — yes,  to  the  nth.  de- 
gree! No  face-lifting  skill  could  quite 
eradicate  that  strong  family  resemblance. 
Interest  .subsides;  the  public  becomes  con- 
verted to  the  wisdom  of  the  advertising 
dogma:  'Avoid  Imitations.' 

The  chorine  and  "Broadway  Melody" 
cousins  are  too  much  in  evidence  of  late. 
This  same  holds  good  with  doughboy  and 
French  bar-maid  episodes.  Considerably 
overworked,  this  latter  is  entitled  to  a  nice 
long  vacation  and  may  be  A.W.O.L.  with- 
out fear  of  court-martial. 

Hollywood  spends  thousands  of  dollars 
for  the  'best  stories.'  There  is  either  a 
paucity  of  'best  stories'  or  else  their  plots 
come  in  pairs,  for  lo!  when  flashed  upon 
the  screen  we  behold  'old  familiar  faces,' 
unfortunately  not  inviting.  The  public  eye 
detects  the  carbon  copy  as  an  art  connois- 
seur would  a  spurious  old  master.  Better 
a  picture,  though  mediocre,  with  a  dis- 
tinctive quality  which  does  not  have  to  rely 
upon  relatives  for  success. 

There  may  be  nothing  new  under  the 
sun;  yet  Emerson's  advice  on  'inventing  a 
better  mousetrap'  holds  good.  The  public 
will  note — and  appreciate. 

Owen  B.  McCarthy, 
1113  S.  Sixth  Street, 

Louisville,  Ky. 


FOURTH  PRIZE  LETTER 
$5.00 

They  say  'Patronize  your  neighborhood 
store,'  well,  we  patronize  the  neighborhood 
theater.  Our  neighborhood  theater  is  crowded 
every  night.  It  suits  the  working  person's 
pocketbook  and  puts  on  the  latest  shows 
shortly  after  they  are  shown  down  town. 

The  modern  age  is  imbued  with  the  spirit 
of  'keeping  up.'  It  has  to.  If  a  girl  doesn't 
make  the  most  of  her  good  points  and  try 
to  make  herself  normally  attractive  these 
days,  she  may  as  well  take  a  back  seat. 
Pictures  accentuate  and  aid  this  idea.  I 
often  go  to  a  show  just  to  note  the  fashions 
in  hair-dressing  and  costumes. 

Studying  the  different  characters  and 
types  in  action  on  the  screen  is  more  in' 
teresting  and  beneficial,  in  my  opinion,  than 
reading  a  book.  A  study  of  the  actor  in 
action,  then  a  study  of  yourself  will  reveal 
many  defects  and  chances  for  improvement 
in  character,  manner  and  dress.  The 
talkies  emphasize  the  modern  need  for  alert 
minds  and  happy  dispositions.  If  more 
people  realized  this  there  would  be  a  one 
hundred  per  cent  happier,  more  enthusias- 
tic generation  than  in  the  present  or  past. 

E.  Wyman, 
58  5  Armory  Street, 
Springfield,  Mass. 


for    June    19  3  0 


11 


h/'NOW.  .  .  I  can  stand 
the  Public  Gaze".  .  . 

Can  You? 


Dainty  Lobetta  Young,  First  National 
Star,  believes  In  the  health  and  beauty- 
giving  power  of  the  Sun 


In  a  recent  issue  of 
PHOTOPLAY- 
JOAN  CRAWFORD 
says: 

"I  think  the  stockingless  vogue  will  always 
last.  Tanned  legs  without  hose  are  most 
attractive  and  I  shall  continue  to  go  stock- 
ingless. even  with  the  new  styles,  except 
with  tailored  street  dresses." 

But  don't  forget  !-Superfluous  hair  shows 
even  more  conspicu- 
ously on  tanned  skins, 
be  sure  to  use  Del- 
a-tone  before  going 
bare-legged — also 
before  you  put 
Ts    on  sheer,  all- 
revealing  silk 
ITj^  stockings. 


CHARM  .  .  .  illusive  .  .  .  appealing  .  .  .  the  first  requisite 
of  those  who  wish  to  be  able  to  stand  the  public  gaze. 

It  is  so  easy  to  be  dainty  ...  to  appear  lovely  in  other  people's 
eyes  ...  if  you  keep  your  skin  smooth  and  free 
of  superfluous  hair. 

Lounging  on  the  beach  with  strong  sunlight 
on  your  bare  legs  ...  at  dinner  with  lamplight 
shining  on  your  bare  arms  .  .  .  Wherever  you 
are,  whatever  you  do,  you  can  meet  the  public 
gaze  with  poise  if  you  confirm  your  daintiness 

with  Del-a-tOne.  Removal of Under- 

arm hair  lessens 
perspiration  odor. 

Easy  to  use  as  cold  cream,  it  actually  re- 
moves hair  safely  and  pleasantly  in  three  minutes  or  less. 

Perfected  through  our  exclusive  formula,  Del-a-tone 
Cream  is  the  first  and  only  white  cream  hair-remover. 

Society  women,  stage  and  screen  stars  .  .  .  renowned  for  their 
charm  .  .  .  prefer  Del-a-tone  Cream  to  all  other  methods  for 
removing  superfluous  hair  from  under-arm,  fore-arm,  legs,  back 
of  neck  and  face.  It's  so  modern,  swift,  convenient  and  so  safe. 

Send  coupon  below  for  trial  tube. 

Delatone  Cream  or  Powder — at  drug  and  department  stores. 
Or  sent  prepaid  in  U.  S.  in  plain  wrapper  SI.  Money  back  if 
desired.  (Trial  tube  10c — use  coupon  below.)  Address  Miss 
Mildred  Hadley,  The  Delatone  Company  (Established  1908), 
Dept.  146.  The  Delatone  Bldg.,  233  E.  Ontario  Street,  Chicago. 


ID  IE  IL-/VTQ  N  E 

The  Onlv  White  Cream  Hair-remover 


Trial 


1929  sales  of  Del-a-tone  Cream  reached  a 
record  volume — jour  times  greater  than 
any  previous  year.  Superiority — that's  why. 


Miss  Mildred  Hadley,  The  Delatone  Company  OFFER 
Dept.  146,  Delatone  Bldg..  233  E.  Ontario  Street.  Chicago.  111. 

Please  send  me  in  plain  wrapper  prepaid,  generous  trial  tube  of  Del-a-tone  Cream,  for 
which  I  enclose  10c. 


Name . 
Street . 
City... 


12 


SCREENLAND 


Praise  for  "Anna  Christie" 

I  have  seen  and  heard  Garbo  in  her  first 
talking  picture.  What  a  joy  and  revelation 
to  hear  this  glamourous  girl  speak  so  well. 
I  sat  spellbound  through  two  entire  per' 
formances,  charmed  and  thrilled  with  her 
deep  compelling  voice  and  the  exquisite 
artistry  with  which  she  portrayed  "Anna 
Christie." 

This  spell  lingered  a  long  time  after  I 
had  left  the  theater.  Over  and  over,  I  lived 
through  these  scenes  and  heard  again  Miss 
Garbo's  husky,  melodious  voice. 

In  this  picture  she  revealed  a  new  char- 
acter, so  human  and  poignant  that  one's 
heart  went  out  to  her.  She  is  not  only 
fascinating  and  subtle,  she  is  an  emotional 
actress  of  the  highest  caliber. 

Miss  Marie  Dressier  deserves  a  lot  of 
praise  for  her  natural  and  capable  perform- 
ance as  Martha.  The  entire  cast  was 
superb. 

Violette  Schumacher, 

4421  Pine  Street, 
Philadelphia,  Pa. 


Watch  for  "Montana  Moon" 

Joan  Crawford  deserves  much  praise  for 
her  wonderful  acting  in  "Untamed."  I 
had  seen  her  in  many  silent  films  and  ad- 
mired her  ability  to  portray  joyous,  light- 
hearted  characters.  But  with  the  advent 
of  the  talkies,  she  was  launched  in  a  picture 
ideally  suited  to  her  type;  in  a  role  dra- 
matic, pathetic  and  interesting. 

Her  voice  is  good  and  her  singing  carried 
us  into  realms  of  ecstasy.  She  seemed  to 
be  right  there  in  person  instead  of  only  a 
'talking  phantom.'  Her  portrayal  of  the 
untamed  girl  was  touching,  realistic,  human. 
May  the  talkies  give  her  more  dramatic  parts 
wherein  her  talents  may  be  revealed  to  us. 

Mrs.  Hazel  M.  Tucker, 

Norway.  Maine., 
R.F.D.  No.  2. 


You're  Welcome ! 

Coming  to  a  strange  city,  friendless  and 
with  a  small  baby,  the  lives  of  my  husband 
and  myself  became  almost  movie-less.  As 
we  had  been  accustomed  to  seeing  pictures 
any  time,  this  seemed  very  odd.  We  had 
not  realized  how  vital  motion  pictures  were 
in  our  lives  until  it  became  necessary  to 
choose  our  play  hours  with  discrimination. 

As  we  can  only  spend  a  few  hours  away 
from  home  each  week,  the  screen  magazines 
have  proved  the  real  solution  to  our  prob- 
lem. Not  only  do  we  eagerly  devour  each 
page,  but  we  carefully  study  the  reviews  of 
the  current  pictures.  By  doing  this  we 
avoid  wasting  our  precious  time  on  a  poor 
picture.  We  see  only  those  that  the  re- 
viewers rate  the  best.  And  even  though 
we  do  have  to  miss  a  few  good  shows,  we 
do  not  miss  reading  about  them  and  of 
our  picture  friends. 

Mrs.  B.  C.  Smith. 
288  Fargo  Street. 
Portland,  Oregon. 


A  Much-Needed  'Menace' 

We  have  heard  a  lot  about  the  so-called 
'menace'  of  the  talking  pictures  to  the  stage. 
It  seems  to  me  that  it's  about  time!  What 
has  the  stage  to  offer?  In  New  York,  in- 
numerable poor  plays,  with  an  occasional 
success  the  original  high  price  of  which  is 
made  exorbitant  by  the  ticket  scalpers.  For 
the  rest  of  us,  two-year-old  plays  with  dingy 
costumes  and  third  rate  cast,  but  near- 
Broadway  prices. 

On  the  other  hand  what  do  talking-sing- 


Greta  Garbo  has  many  nezv  fans 
since  the  talkers  gave  her  vocal 
success  with  "Anna  Christie."  Her 
next  will  be  "Romance." 


ing  pictures  offer?  Stars  such  as  Ruth 
Chatterton,  Lawrence  Tibbett,  George  Ar- 
liss  and  a  host  of  others  equally  great,  in 
productions  made  worthy  of  them  by  the 
work  of  the  best  playwrights,  composers 
and  the  technical  genius  of  experts.  In  the 
smallest  towns  we  see  these  plays  in  all 
their  fineness  for  a  nominal  fee.  All  hail 
the  talkies,  the  much-needed  'menace  to  the 
stage!' 

Mrs.  Louis  M.  Haas, 
1021  Washington  Avenue, 

Racine,  Wis. 


From  an  English  Fan 

To  countless  thousands  do  pictures  come, 
telling  of  all  that  is  wonderful,  beautiful 
in  life;  of  laughter  and  tears,  of  romance 
and  tragedy,  of  that  blessed  of  all  gifts — 
love. 

From  our  own  colorless  surroundings  we 
are  spirited  far  away  to  a  golden  land  of 
make-believe.  I  have  wept  with  Al  Jolson, 
I  have  laughed  with  Charlie  Chaplin.  I 
have  followed  Greta  Garbo  through  the 
trials  and  triumphs  of  unselfish  love.  I 
have  flown  with  those  happy  care  free  chil- 
dren, those  music  makers,  away  into  the 
gay  cosmopolitan  life  of  Paris. 

I  have  seen  the  sandy  wastes  of  -the 
Sahara,  the  frozen  tracts  of  the  north;  the 
waving  yellow  of  the  prairie  corn  and  the 
restless  moving  of  the  mightly  deep.  It 
is  an  unspeakable  joy  to  wander  with  those 
perfect  artists  into  unknown  lands,  onto 


untrodden  soils.  So  to  the  movies,  talkie 
or  silent — God  bless  'em! 

Phyllis  Lyne, 
Staplegrove  House4 
Woodburn  Green> 
Bucks,  England. 


Too  Many  Theme  Songs? 

Must  we  have  a  theme-song  with  every 
picture?  We  are  passing  through  an  era 
when  an  oft-recurring  strain  of  music  is  of 
primary  importance.  A  play  that  is  a  time- 
honored  favorite  may  undergo  such  radical 
changes  in  its  transition  from  speaking  stage 
to  screen  as  to  be  robbed  of  any  semblance 
of  motive  or  plot,  and  all  connection  with 
the  story  is  lost.  Is  it  not  possible  to  cling 
to  the  original  tale,  enriching  and  enhancing 
it  by  sumptuous  picturization?  In  most  in' 
stances  the  theme-song  adds  nothing  to  the 
story  value,  therefore  it  may  well  be  left 
to  musical  comedy  where  the  haunting 
melody  rightfully  belongs.  At  present  it 
would  not  surprise  me  at  all  to  see  H.  B. 
Warner  (than  whom  there  is  no  finer  actor) 
come  sprinting  on  to  the  stage  announcing: 
"Here  I  am  folks;  first  I'll  sing  you  a  little 
song;  hope  you  like  it!" 

In  contrast  "Madame  X"  stands  strik- 
ingly apart  as  the -most  superb  screen  pro- 
duction to  date,  due  -  in  large  measure  to 
the  intelligent  direction  of  Lionel  Barry- 
more.  Throughout  its  entire  filming  Mr. 
Barrymore  never  lost  sight  of  that  almost 
eternal    verity — "The    play's    the  thing." 

Katherine  A.  Nash, 
The  Toronto,  20th  &  P.  Sts.,  N.W., 

Washington,  D.  C. 


Are  Talkies  Destroying 
Romance? 

A  sad  thing  has  happened!  In  the  old 
days  (B.T.) — when  that  exquisite  moment 
arrived  for  the  handsome  hero  to  clasp  the 
lovely  heroine  to  his  manly  chest,  gaze  into 
her  beautiful  eyes  and  whisper:  "I  love 
you,"  we  held  pur  breaths  while  the  pal' 
pitation  of  our  hearts  nearly  strangled  us. 
J^ow,  when  the  hero,  no  longer  silent,  de' 
clares  his  love,  the  audience  shouts  with 
laughter. 

When  little  Annie  wept  real  salty  tears 
because  her  lover  deserted  her,  we  sniffed, 
blew  our  noses  to  hide  our  embarrassment 
and  took  Annie's  grief  to  heart.  Now  her 
audible  moans  and  gulping  sobs  fill  the 
theater  with  snickers. 

Apparently,  there  is  nothing  wrong  with 
our  sight,  but  there  must  be  something 
radically  wrong  with  our  hearing!  What 
is  it? 

Bernice  C.  Bowne, 

890  Geary  St.. 
San  Francisco,  Cal. 


The  New  School 

The  old  school  of  laborious,  palpable  act' 
ing  passes.  Comes  the  new,  gay,  natural 
effervescent  performance  which  requires  real 
dramatic  ability.  Almost  anyone  can  strike 
a  tragic  pose  and  hold  it  indefinitely.  We 
have  all  played  living  statues.  But  it  takes 
an  artist  to  give  the  spontaneous  perform- 
ance which  Maurice  Chevalier  achieved  in 
"The  Love  Parade."  Time  was  when  actors' 
expressions  were  like  poorly-made  masks. 
An  appropriate  one  was  chosen,  slipped  on 
and  held  in  place  throughout  the  play.  Now, 
we  have  artists  with  intelligence  enough  to 
make  their  expressions  part  of  themselves. 
Long  live  the  new  school  of  artists! 

Irene  Woodruff, 
26  Monument  Square, 

Charlestown,  Mass. 


for    June  1930 


13 


HER  SIN  WAS 
NO  GREATER 
THAN  HIS  

but 

SHE    WAS  A 
WOMAN 


the  Incomparable 

NORMA 
SHEARER 


m 


THE 


Chester  Morris 
Conrad  Nagel 
Robt.  Montgomery 

Directed  by 
Robert  Z.  Leonard 


IF  the  world  permits  the  husband  to 
philander — why  not  the  wife?  Here  is 
a  frank,  outspoken  and  daring  drama 
that  exposes  the  hypocrisy  of  modern 
marriage.  Norma  Shearer  again  proves 
her  genius  in  the  most  dazzling  per- 
formance of  her  career.  She  was  won- 
derful in  "The  Last  of  Mrs.  Cheney". 
She  was  marvelous  in  "Their  Own 
Desire".  She  is  superb  in  "The  Di- 
vorcee" which  is  destined  to  be  one 
of  the  most  talked  of  pictures  in  years. 


METRO-GOLDWYN-MAYER 


'More  Stars  Than  There  Are  in  Heaven" 


14 


SCREENLAND 


' ' I  HANK  you,  John  McCormack,  for  your  voice,  your  smile,  and  your  engaging 
modesty  which  first  shine  from  the  screen  in  "Song  o'  My  Heart."  You  may 
he  the  world's  most  popular  tenor,  and  we  don't  doubt  it;  but  you  came  to  pictures 
with  the  most  charming  humility,  as  if  you  were  just  a  novice  who  had  still  to  win  his 
way.  Only  a  great  man  could  have  been  so  humble.  And  it  is  nice  to  know  that 
the  success  of  your  screen  debut  is  so  well  deserved. 


for    June    19  30 


15 


SCREENLAND 
^fONOR  TAGE 


A smile,  a  voice,  a  man!  You  have  heard 
John  McCormaek  in  concert  or  on  phone 
graph  records;  but  it  remained  for  the 
*  films  to  reveal  the  real  charm  of  the 
Irish  minstrel.  "Song  o'  My  Heart"  is  the  best 
bargain  on  the  motion  picture  screens  today:  a 
world-famous  voice  singing  eleven — count  'em, 
eleven! — beautiful  songs;  a  sweet  story;  droll  humor 
— all  woven  around  the  endearing  personality  of  a 
great  artist.    Welcome,  John  McCormaek! 


McCormaek  has  been  a  famous 
singer  for  a  long  time  now. 
But  in  spite  of  the  years  and  the 
adulation  and  the  material  re- 
wards, he  has  miraculously  re- 
tained the  spirit  of  youth.  It 
is  in  his  great  voice  and  his  big 
smile.  When  he  sings,  the  old- 
est member  of  his  audience 
grows  young   again    with  him. 


Frank  Borzage,  the  gifted  young 
Italian  director,  has  invested 
the  simple  story  of  "Song  o' 
My  Heart"  with  an  all-embrac- 
ing humanity.  His  characters 
are  not  puppets  moving  about 
the  scenery  of  an  Emerald  Isle 
and  mouthing  dialect.  They  are 
warm,  human,  glowing.  To  the 
right  is  a  scene  from  the  pic- 
ture with  McCormaek  smiling 
at  Effie  Ellsler  who  plays  his 
sister;  and  with  Tommy  Clif- 
ford, the  delightful  little  boy 
discovered  in  Ireland  and  im- 
ported to  Hollywood. 


John  McCormaek  and  his  daughter 
Gwen  on  the  steps  of  his  home  in 
Ireland,  where  the  family  spends 
part  of  every  year.  Good  news  for 
film  followers — the  singer  has  pur- 
chased a  huge  estate  in  Beverly 
Hills,  California,  indicating  that 
he  will  make  other  motion  pic- 
tures to  follow  "Song  o'  My 
Heart."  He  can't  make  too  many 
to  suit  us! 


16 


SCREENLAND 


DEEP  RIVER  TALKIE  PALACg 
OOHN  gAKRYMOR-g    "<   6ENS?AL. CRACK 
<S-£CR££"  ARMSS    «     PI  S  RAELl 

GARY  COOPER,  in  13ARKIES 

"  7  PAYS  UrA 

SUM DAY 
FAIRBANKS  -PICKF OR D  w 
'v  THE  TAMIM6-  C¥ 

AN  NA-  £fH2lSTiEJi 


'ir^  ------  r;---  .^Trri-^... 


4   Drawing  by  C.  D.  Datchelor 


The  World  Do  Move 


for    June    19  30 


17 


SPEECH,  speech! 
How's  your  voice  today?  Say  "ah." 
Ah-ah-ah!  That's  enough.  I  didn't  ask 
for  a  gargle.  All  I  wanted  to  find  out  was 
whether  you  were  in  voice.  It's  very  important, 
you  know.  The  voice  is  everything— simply  every- 
thing. 

CYou  may  have  the  face  of  a  Dove  and  the  figure 
of  a  Crawford  and  the  dramatic  talents  of  a 
Garbo;  but  if  you  haven't  a  Voice,  you  might  just 
as  well  take  up  embroidery  work.  It's  the  voice 
that  wins  in  motion  pictures  today — and  they  don't 
even  care  much  about  the  smile.  For  the  first 
time  in  the  history  of  the  world,  women  are  not 
being  frowned  down  for  talking  too  much;  they 
are  actually  being  encouraged.  Everybody  in 
Hollywood  is  fighting  for  the  last  word.  Of  course, 
after  you  admit  you  have  the  Voice,  then  you  must 
learn  to  use  it.  Just  talking  won't  get  you  very 
far.  You  must  speak  with  the  right  degree  of 
umph.  As  J.  M.  Kerrigan  says  to  John  McCormack 
in  "Song  o'  My  Heart,"  you've  got  to  put  umph 
into  it.  If  you  don't  know  what  umph  is  see  the 
picture;  or  turn  to  Rudy  Vallee  on  the  radio. 
Chevalier's  voice  has  umph,  so  has  John  Boles' 
Among  the  ladies,  Miss  Swanson  and  Bebe 
Daniels  have  it  to  the  nth.  degree.  Ann  Harding 
has  her  share;  and  judging  from  the  box-office  re- 
ceipts, Greta  has  more  than 
hers.  Umph  is  the  vocal  It; 
and  you'd  better  cultivate  it. 

Q  It's  a  career  in  itself.  You 
can't  take  lessons  from  Dr. 
Mario  Marafioti,  voice  author- 
ity, because  he  is  all  tied  up 
teaching  the  Metro  stars — and 
by  the  way,  I  hear  that  since 
our  article  in  this  issue  was 
written  the  learned  Doctor  has 
declared  after  a  session  with 
John  Gilbert  that  there  is  no 
reason  on  earth  or  in  Hollywood 
why  our  John  can't  talk  with  the 
best  of  them  after  a  little  expert 
practice.  Great  news!  But 
the  Doctor  is  so  busy  with 
John  that  we'll  have  to  con- 
duct  our   own   voice  lessons. 


First  I  recommend  you  lease  a  house,  or  an 
apartment,  with  an  oversize  bath.  This  is  a 
great  place  to  let  the  old  voice  out.  Then  attend 
picture  performances — go  to  dozens  of  shows;  hear 
everybody  from  Ina  Claire  to  Andy  Clyde,  and 
try  a  little  of  each.  When  you  feel  you  have  made 
some  progress  in  some  direction  or  other,  begin 
calling  up  your  friends.  Like  this:  ■"Hello-hello- 
hello,  I  say,  are  you  theah?"  When  the  sputtering 
at  the  other  end  of  the  wire  has  somewhat  sub- 
sided, you  continue:  "Guess  who? — I  mean  to  say, 
endeavor  to  ascertain  the  identity  of  the  person 
at  the  other  end  of  the  wire,  what-what?"  About 
this  time  it  might  be  well  to  change  to  a  Swedish 
accent;  or  a  German  accent  like  that  used  by  the 
star  of  "Sarah  and  Son."  And  then  when  you  are 
forced  to  explain  yourself  you  can  always  say:  "If 
it's  good  enough  for  Garbo,  (or  Ruth  Chatterton) 
it's  good  enough  for  me."  There's  no  answer  to 
that  one. 

Of  course,  if  you  want  to  be  sensible,  and  in  spite 
of  the  ridicule  of  friends  and  acquaintances  retain 
the  voice  of  your  native  state  with  its  nice  com- 
fortable accent  and  enunciation  and  what-nots,  you 
can  always  defend  your  stand  by  calling  upon  the 
words  of  Dr.  Frank  H.  Vizatelly,  who,  from  the 
Fox  Movietone  screen,  took  up  the  question  of 
"Which  quality  of  English  is  going  to  be  the  stand- 
ard— that  spoken  in  Hollywood  or  that  spoken  in 
England?  God  forbid  us,"  says 
Dr.  Vizatelly,  "from  the  stand- 
ard spoken  in  London  where 
they  clip  the  g's  and  drop  the 
h's  and  mumble-jumble  many 
of  their  words.  We  have  a 
distinction  on  this  side,  and  that 
is  the  distinction  of  enunciating 
every  one  of  the  syllables  of 
the  words  we  utter.  We  do  not 
mumble.  I  have  lived  in  the 
United  States  and  in  New  York 
City  for  thirty-nine  years  and 
proclaim  the  fact  that  English 
as  spoken  in  the  United  States 
is  far  superior  to  that  spoken 
in  England." 


C  Hurrah  for  our  side ! 
we  can  be  ourselves. 


Now 


D.  E. 


18 


SCREENLAND 


The  MOST  FAMOUS 

Anita  Loos 


E.  F.  Foley,  N.  T. 

Anita  Loos,  the  brilliant  and  beautiful  girl  who  started 
out  writing  screen  stories  and  sub-titles  for  Douglas 
Fairbanks'  early  films,  and  won  international  fame — 
and  a  fortune — with  "Gentlemen  Prefer  Blondes," 
snapped  on  the  steps  of  her  Palm  Beach  villa. 


T' 
I 


|ALKING  pictures  are  the  most  thrilling  medium 
that  has  ever  been  put  into  the  hands  of  any 
body  who  wants  to  work  in  the  theater.  And 
ever  since  I  saw  my  first  talkie,  I  have  become 
a  passionate  movie  fan." 

Anita  Loos  speaking — America's  most  famous  woman 
humorist,  creator  of  "Gentlemen  Prefer  Blondes,"  former 
movie  scenario  and  title  writer,  and  author  of  a  forth- 
coming book  about  Hollywood. 

Anita  Loos  looks  like  a  gorgeous  imported  doll.  She's 
tiny  and  piquant,  with  short  straight  black  hair  and  big 
dark  brown  eyes.  Yet  from  that  doll-like  body  of  hers, 
there  radiates  an  amazing  mind,  profounder  than  that 
possessed  by  most  writing  women  in  America,  and  equalled 
by  few  writing  men.  Her  brain  works  with  the  rapidity 
of  a  meat-slicing  machine  in  a  delicatessen  store. 

She  isn't  flippant.  She  doesn't  talk  in  wise  cracks.  She 
bears  no  mental  or  spiritual  relationship  to  the  yellow- 
haired  gold  diggers  she  delights  to  create.  She  is  direct, 
businesslike,  a  decidedly  cerebral  type.  True,  with  her 
soft,  child-like  body  and  beautiful,  not-quite-satisfied  face, 
she  has  a  pictorial  likeness  to  the  modern  American  girl 


A  Little  Girl  who  Grew  Up  in 
the  Movies  and  Became  a 
Great  Author  Tells  You  How 
the  Talkies  Made  her  a  Fan 

By  Rosa  Reilly 


who  uses  her  physical  characteristics  to  get  on  in  the  world. 
But  Anita  Loos  has  never  forged  ahead  because  she  is  fair- 
favored.  On  her  brains  and  on  her  brains  alone,  she  has 
hoisted  herself  from  middle-class  obscurity  to  the  top  of 
the  literary  world,  and  to  the  top  of  an  internationally 
prominent  social  group  which  is  second  to  none  in  brains, 
breeding  and  creative  artistry.  She  and  her  husband, 
John  Emerson,  are  notable  figures  in  the  social  and  artistic 
circles  of  New  York,  London,  Paris,  Palm  Beach.  Yet 
this  'soubrette  of  satire,'  still  in  her  twenties,  is  more 
modest  and  unmoved  than  the  latest  Hollywood  ingenue. 

"Until  talking  pictures  came  along,"  Miss  Loos  con- 
tinued, "the  movies  held  few  illusions  for  me.  I  was  born 
in  a  stage  family  and  had  been  writing  for  the  screen 
since  my  thirteenth  year, 

"When  I  played  on  the  stage,  movies  used  to  be  shown 
between  the  acts.  I  knew  nothing  about  them  but  figured 
out  that  there  must  be  some  sort  of  a  story  before  they 
could  be  filmed.  So  I  took  the  address  off  a  Biograph 
Film  can,  wrote  a  story  and  sent  it  off. 

"The  scenario — if  I  can  call  it  that — was  bought  im- 
mediately. And  from  then  on  D.  W.  Griffith  took  every- 
thing I  wrote.  But  he  didn't  make  my  stories  into  pictures. 
He  would  read  them  and  laugh,  use  parts  of  them,  but 
when  the  film  finally  reached  the  screen  nothing  of  the 
original  story  was  left. 

"But  since  this  writing  paid  better  than  acting  I  kept 
up.  If  it  hadn't  been  for  John  Emerson  I  would  still  be 
out  in  Hollywood — God  forbid — working  in  some  scenario 
department! 

"John  Emerson  was  called  in  to  make  pictures  for 
Douglas  Fairbanks.  One  day  he  was  going  through  the 
scenario  files  and  he  shouted  to  Griffith  who  was  sitting 
near:  'I  think  I  have  found  just  what  I  want  for  Fairbanks.' 
Griffith  took  one  look  at  the  manuscript  and  laughed:  'Oh,' 
he  said,  'we  buy  that  Loos  stuff  because  it  hands  us  a  laugh 
in  the  office  here  but  you  couldn't  use  it  on  the  screen.' 

"Mr.  Emerson  thought  differently.  He  went  ahead  and 
made  the  picture.  Griffith  felt  that  the  climax  was  a 
title  instead  of  action.  But  Mr.  Emerson  pointed  out 
what  they  did  not  at  that  time  realize — that  the  humor 
was  not  in  the  words  but  in  the  situation  which  led  up 
to  the  words  in  the  title. 

"The  picture  went  over  and  from  then  on  I  titled  every 
picture  they  turned  out.  But  titling  other  people's  pictures 
did  not  get  me  anywhere  so  I  started  writing  stories  for 


for    June  1930 


19 


MOVIE  FAN  in  the  yV OVlu 


pictures  which  Mr.  Emerson  di' 
rected.  They  turned  out  well, 
but  the  strange  part  is  I  never 
had  a  successful  picture  which 
Mr.  Emerson  did  not  direct. 
And  as  he  is  much  too  lazy  to 
do  any  more  directing,  I  have 
finished  my  motion  picture  career. 

"From  then  on  I  had  little  in- 
terest in  films.  Silent  pictures 
had  become  monotonous. 
Things  had  gone  stale.  Tech- 
nically, everything  possible  had 
been  done.  Nothing  new  was 
being  created.  But  it  was  not 
the  producer's  fault.  The  fault 
lay  in  the  fact  that  practically 
only  one  great  pantomime  artist 
is  born  every  hundred  years. 
Chaplin  was  our  only  one. 

"Then  came  the  talkies!  And 
a  tremendous  breath  of  fresh  air 
rushed  into  the  industry.  For 
the  first  time  in  my  life  I  began 
to  go  to  movies,  not  because  it 

was  my  duty  to  see  them  but  because  they  amused  and 
thrilled  me.  My  husband  and  I  go  as  often  as  three 
times  a  week.  Eve  seen  everything  that's  worth  taking 
in  even  when,  because  of  what  amounts  to  a  French  em- 
bargo on  American  films,  I  have  to  fly  from  Paris  to  London 
to  do  so  during  the  months  when  I  live  in  France.  Those 
pictures  I  particularly  like  are  both  George  Arliss'  films, 
'Disraeli,1  'The  Green  Goddess1;  and  'The  Love  Parade1 
and  'The  Rogue  Song.1 

"Talking  pictures  are  much  finer  than  silent  pictures 
for  a  good  talkie  is  infinitely  better  than  a  good  silent 
film.  And  conversely,  a  bad  talkie  is  infinitely  worse  than 
a  bad  silent  movie. 

"For  the  latter  reason  I  am  surprised  that,  excellent 
as  the  new  American  talking  pictures  are,  our  producers 
here  in  the  United  States  have  not  yet  been  able  to  evolve 
as  remarkable  a  talkie  technique  as  the  Germans. 

"That  surprises  you?  The  only  German  talkies  shown 
in  this  country,  I  understand,  have  been  inferior  ones 
which  have  not  equalled  at  all  the  talkies  made  in  Holly- 
wood. However,  in  Germany  I  have  seen  two  talkies: 
'The  Melody  of  Earth1  and  'When  Nelson  Plays,1  that  are 
wonderful  beyond  words.  And  the  reason  they  are  won- 
derful is  because  they  have  not  copied  the  technique  of 
Hollywood.  They  have  not  even  copied  theater  technique. 
They  have  worked  out  a  way  of  making  talking  films 
which  is  fourth  dimensional,  resulting  in  talkies  as  imagin- 
atively limitless  as  the  Einstein  theory,  as  poetic  as  Shakes- 
peare or  Goethe,  and  educationally  more  valuable  than  any 
philosophical  treatise  or  any  course  of  text  books  in 
existence. 

"Take  'The  Melody  of  Earth,1  for  instance.  This  film 
was  made  in  Germany  by  Taubus.  It  takes  the  civilization 
of  the  entire  world  and  divides  it  into  four  sections:  one, 
Religion;  two,  Politics;  three,  Industry;  four,  Women's 
Work  in  the  World. 

"This  is  like  a  picture  told  in  shorthand.  None  of  the 
shots  is  of  any  length  at  all.  Everything  flashes  before 
your  eyes  with  such  rapidity  that  for  the  first  time  in 


Anita  Loos  Says: 

"Talking  pictures  are  much  finer 
than  silent  films. 

"My  favorite  American  talkies  so 
far  have  been  'Disraeli,'  'The  Green 
Goddess,'  'The  Love  Parade'  and 
'The  Rogue  Song.' 

"But  Hollywood  has  not  yet  been 
able  to  evolve  talkie  technique  as  re- 
markable as  that  developed  by  the 
Germans.  Two  German  talkers,  'The 
Melody  of  Earth'  and  'When  Nelson 
Plays'  are  wonderful.  They  have  not 
copied  the  technique  of  Hollywood 
or  the  theater;  they  have  worked  out 
their  own  technique. 

"Talkies  may  be  as  imaginatively 
limitless  as  the  Einstein  theory,  as 
poetic  as  Shakespeare  or  Goethe,  and 
educationally  more  valuable  than  any 
course  of  text  books." 


my  existence  I  got  to  look  on 
the  world  as  a  whole,  not  as  two 
hemispheres  divided  into  separate 
countries. 

"In  'The  Melody  of  Earth,' 
there  is  no  business  of  setting 
the  camera  in  front  of  the  pros- 
cenium arch  and  shooting  with- 
out action.  This  picture  is  not 
bound  down  by  any  of  the  con- 
ventions of  the  theater  or  the 
screen.  It  has  the  most  elastic 
technique  in  existence. 

"Take  the  religious  part  of  the 
film.    First  we  have  a  religious 
procession    in    Rome,    a  long, 
glorious,    and   glamourous  pro- 
cession carrying  the  Host  under 
an    arched    canopy.  Instanta- 
neously we  switch  to  the  Fiji 
Islands  and  there  we  see  an  ex- 
citing  cannibal   procession.  In 
this  elaborate  heathen  ceremonial, 
the  almost  naked  Fijians  are  car- 
rying an  object  under  a  canopy 
— an  object  which  to  them  is  also  sacred.    It  makes  the 
most  cultivated  person  in  the  world  and  the  lowest  can- 
nibal type  brothers  under  the  skin. 

"Nor  does  the  picture  stop  at  the  Fijis.  Immediately, 
we  are  carried  to  India  where  we  see  a  Buddhist  saying 
his  prayers  in  a  pointed  temple  to  a  Divinity  which  may 
be  alien  to  us — but  is  close  to  him;   (Continued  on  page  127) 


A  portrait  of  Anita  Loos  Emerson  by  her  friend, 
the   clever  young   English    artist,    Cecil  Beaton. 


20 

"We  want  Buddy!" 
roared  the  Times 
Square  crowd. 
"Who,  me?" 
laughed  an  un- 
spoiled kid  from 
Kansas. 


SCREENLAND 


We  Want 

Buddy! 


'Hard-Boiled'  New  York 
Lost  its  Head  Over  Charles 
'Buddy'  Rogers.  Why? 
This  Story  Tells  You 

By  Gray  Strider 


IT  looked  like  Election  Night  in  Times  Square! 
A  mob  of  people  started  milling  around  the  Forty' 
Fourth  Street  stage  door  of  the  Paramount  Theater. 
Pretty  soon,  the  crowd  got  so  big,  it  bulged  across 
Broadway,  clear  down  to  the  edge  of  the  New  York  Times 
Building  at  Forty  Second  Street.  Then  it  made  a  detour, 
swarming  towards  the  Astor  Hotel,  and  forcing  the  over- 
flow into  Forty  Third  Street,  past  the  press  entrance  of 
the  theater. 


BUDDY  ROGERS 


for    June  1930 


21 


At  the  box-office  window,  a  three-ply  cue  of  people 
patiently  struggled  to  maintain  their  places,  in  a  broad 
plait  which  stretched  far  down  Broadway.  In  surround- 
ing streets  all  traffic  was  stopped.  Policemen  blew  their 
whistles  in  vain.  Red  lights  turned  to  green  to  no  ad- 
vantage. Limousines  full  of  ermine-coated,  silken-haired 
ladies,  and  silk-hatted,  griz-led-haired  gents  were  at  a 
standstill.  Even  when  a  reinforcement  of  Mr.  Grover 
Whalen's  sturdiest  mounted  police  came  into  action,  the 
crowd  moved  but  sluggishly. 

It  looked  like  the  folks  were  expecting  Lindbergh  or 
the  Prince  of  Wales.    But  they  weren't. 

They  were  waiting  for  a  boy  from  Olathe,  Kansas. 
This  hard-boiled  Broadway  crowd  which  has  seen  almost 
everything  in  the  world  and  has  not  batted  an  eyelash, 
was  waiting  as  intently  as  any  hayseed  crowd  that  ever 
hung  around  a  Main  Street  'op'ry  house,1  for  a  sight,  a 
glimpse,  a  word,  or  a  touch  of  old  man  Rogers'  young 
son,  Buddy,  who  was  making  personal  appearances  at  the 
Paramount  Theaters  in  New  York  and  Brooklyn,  for  one 
week  each. 

When  the  crowd  caught  sight  of  Buddy,  bedlam  broke 
loose.  Hundreds  of  women  and  girls  made  a  wild  dash 
to  get  within  hailing  distance.  Only  one  girl  made  it. 
Buddy  shook  her  hand  and  said  he  was  glad  to  be  back 
in  New  York  again.  Almost  hysterically  the  girl  screamed : 
"As  long  as  I  live.  I'll  never  wash  the  hand  that  Buddy 
Rogers  shook!" 

By  that  time,  the  crowd  was  crazy.  And  if  it  hadn't 
been  for  the  police  and  the  fact  that  Buddy  possesses 
a  pair  of  good  sprinting  legs,  the  results  might  have  been 
serious.  For  this  mob  of  friendly,  good-natured  people 
would  surely  have  crushed  Buddy — in  a  wave  of  affection. 

As  it  was,  Buddy's  hat  got  knocked  off  in  the  melee. 
A  pretty  woman  with  red  hair  and  gray  eyes  picked  it 
up  and  hugged  it  to  her.  But  instantaneously,  it  was  torn 
out  of  her  hands  by  a  dosen  different  women.  In  a  second, 
that  hat  was  in  tatters 


—with  a  hundred  peo- 
ple fighting  for  each 
tatter. 

No  wonder  Rogers 
looked  a  little  tired 
when     I  interviewed 


Just  a  small  part  of  the  mob  that  stormed  the  Paramount  Theater  at 
'the  crossroads  of  the  world' — Broadway  at  43rd  and  44th  Streets — to  see 
Buddy  Rogers  in  person.  W ally  Reid,  Valentino,  Vallee — none  of  these 
idols  ever  excited  more  enthusiasm  than  the  boy  from  Olathe.  What  is 
the  secret  of  Buddy's  success?  Why  do  people  flock  to  see  him  on  Broad- 
way or  any  Main  Street?  Screenland  wanted  to  know — and  you'll  find  the 
answer  in  this  revealing  article.    Step  up  and  meet  the  real  Buddy  Rogers. 


him  the  next  week  at  the  Brooklyn  Paramount.  For  this 
same  enthusiasm  has  been  maintained  at  every  matinee  and 
at  every  evening  performance. 

Although  the  doorman  at  the  Brooklyn  theater  was 
expecting  me  the  day  I  called,  it  was  almost  impossible 
to  get  in.  For  one  half  a  block  the  theater  was  crowded 
with  school  girls,  text  books  in  one  arm,  fan  magazines 
in  the  other.  Many  stood.  Some  had  camp  stools  on 
which  they  sat.  Others  squatted  on  the  cold  concrete. 
It  was  then  five  o'clock  and  they  had  all  been  at  the 
stage  door  since  school  let  out  at  two. 

The  moment  anybody  with  business  at  the  theater  tried 
to  enter  the  stage  door,  a  surge  of  girls  would  try  to  force 
themselves  in.  The  doorman  looked  like  he  had  been 
riding  in  a  six-day  bicycle  race.  His  knees  and  head 
sagged.  His  eyes  had  black  rings  around  them.  His 
disposition  was  gradually  wearing  thin. 

At  intervals  of  five  minutes  or  so,  the  thousand-odd 
school  girls  outside  would  call:  "Buddy,  Buddy!  We  want 
Buddy!" 

When  the  doorman  could  no  longer  stand  the  pande- 
monium, he  would  go  out  and  let  one  girl  in  to  see  Buddy 
— not  talk  to  him.  Then  she  would  rush  out  and  all  the 
others  would  spring  on  her  to  get  a  word  of  first  hand 
news  from  the  hero. 

Inside  the  theater  it  was  even  worse.  The  first  eight 
rows  of  seats  had  been  solidly  packed  since  the  theater 
opened  in  the  morning  with  girls  and  women  who  refused 
to  leave  when  the  show  was  over.  The  house  manager 
had  tried  to  clear  the  house.  Ushers  had  used  their  most 
persuasive  tones.  But  the  girls  sat  solid,  without  lunch, 
without  water.  Finally  at  five  o'clock,  the  house  manager 
made  an  announcement  from  the  stage  that  Buddy  would 
be  out  in  the  lobby  in  five  minutes  personally  to  autograph 
pictures. 

»  Those  seats  were  cleared  as  if  by  magic! 
And  there  was  more  trouble  outside!    While  I  was 

waiting  inside  the  stage 
door  for  Buddy  to 
finish  his  act,  an  awful 
scream  rent  the  air. 

Everybody  flew  out- 
side  thinking   a  fight 
(Cont.  on  page  124) 


22 


SCREENLAND 


T/nsung 

By  Helen  Ludlam 


the  story?  Well,  from  a  human  standpoint  it  is  intensely 
interesting,  to  my  mind.  Are  these  Russians  bitter,  or 
are  they  resigned?  Are  they  relieved  to  be  given  a  chance 
to  follow  the  line  of  endeavor  to  which  they  are  most 

attracted  instead  of 
the  two  careers  open 
to  Russians  of  noble 
birth,  statecraft  and 
the  battlefield? 
Have  they  learned 
anything?  Few  of 
us  are  satisfied  with 
our  lot.  Princes  of 
the  blood  wish  they 
had  been  born  out' 
side  the  royal  cir- 
cle.    Nothing  is 


Left:  Winifred  Lau- 
ranee,  the  first  woman 
to  become  an  assistant 
director.  Winifred  was 
born  in  Japan  but  her 
mother  was  Russian, 
her  father  English. 


William  Mortensen 

The  beautiful  Natasha  Golitzin,  the  Russian 
princess  who  now  works  in  pictures. 

IF  America  is  the  melting  of  the  world,  Hollywood 
is  the  melting  pot  of  America.  Gradually  the  na- 
tions of  the  earth  have  drifted  to  Hollywood,  their 
advent  more  noticeable  here  than  in  New  York  or 
Chicago  because  of  the  smallness  of  our  population.  There 
is  an  English  colony,  a  French  colony,  a  Spanish  colony, 
a  Mexican  colony,  a  Swedish  colony.  All  are  striving 
not  so  much  for  fame,  except  in  a  few  instances,  as  for 
expression.  But  the  people  who  command,  perhaps,  the 
greatest  sympathy  as  well  as  great  respect  and  admiration 
are  the  Russian  refugees.  There  are  several  hundreds  of 
them  but  not  all  are  in  pictures.  Unlike  many  others  who 
live  here  for  years  without  taking  out  their  naturalisation 
papers  the  Russians  do  so  as  soon  as  they  can. 

Among  those  who  are  in  pictures  we  find  Ivan  Lebedeff, 
whose  performance  in  "Street  Girl"  won  for  him  a  long- 
term  contract  with  RKO.  We  find  Theodore  Lodi,  David 
Mir,  Natasha  Golitzin,  Wiacheslav  Savitsky,  Alexander 
Ikonikoff,  Olga  Baclanova  and  her  husband,  Michael 
Sousannin,  Winifred  Laurance  and  others.  Many  others 
have  entered  the  technical  and  engineering  fields  of  studio 
work. 

I  have  talked  with  a  score  of  them  and  have  yet  to 
find  one  who  felt  sorry  for  himself,  who  cared  to  talk 
about  his  past  experiences,  or  who  wanted  publicity.  The 
groundwork  for  this  story  I  have  been  months  in  gathering. 
The  Russians  don't  want  publicity.  They  simply  want 
a  chance  to  work  and  to  be  let  alone.    Then  why  write 


Photo  by  Don  English,  Paramount 

Fay  Wray  visits  the  Double-Headed  Russian  Eagle, 
General  Lodijensky's  smart  Hollywood  restaurant. 
Lodijensky  is  known  on  the  screen  as  Theodore  Lodi. 


for    June  1930 


23 


Stars  of  Hollywood 

About  the  Gallant  Russians  who  are  Writing 
a  New  Chapter  in  the  Story  of  the  Screen 


more  confining  than  a  crown.  Yet,  if  you  are  born  to  it, 
you  must  wear  it. 

Many  of  these  Russians  are  of  noble  blood.  Their  job, 
had  not  the  Revolution  interfered,  would  have  been  duties 
of  State — either  soldiering  or  diplomacy.  It  is  curious 
how  many  sighed  over  this  heritage,  turning  with  eager 
eyes  to  the  arts  and  sciences  and  dipping  into  a  study 
of  them  on  the  side.  Ivan  Lebedeff  was  one  of  these; 
David  Mir  was  another.  I  do  not  mean  to  convey  the 
impression  that  any  one  of  them  is  glad  of  what  hap- 
pened, but  when  they  opened  their  eyes  after  the  deluge 
of  blood  they  passed  through  they  must  have  experienced 
a  sense  of  joy  that  at  least  a  chance  to  work  at  a  pro- 
fession they  loved  was  still  left  to  them.  This  applies 
to  the  younger  people.  For  the  older  people  who  had 
become  established  in  their  work  it  was  very  hard,  and 
many  of  them  are  still  groping. 

As  an  example,  take  General  Wiacheslav  Savitsky, 
former  Minister  of  War  of  Southern  Russia — the  Cossack 
General,  he  was  called.  The  Revolution  found  him  in 
the  middle  forties.  He  was  a  soldier,  but  with  the  Revo- 
lution soldiering  as  a  career  went  out  of  fashion.  The 
'gentleman  soldier'  is  no  longer  needed  in  Russia,  His 
family  had  a  large  personal  fortune.  It  was  swept  away 
and  the  members  of  it  were  fortunate  to  escape  with 
their  lives.  General  Savitsky  came  to  America  with  a 
friend,  Prince  Andronica.  Both  joined  the  Joe  Miller 
circus.  Eventually,  they  drifted  to  Hollywood.  They 
did  many  things  to  earn  a  living,  even  working  as  day 
laborers,  but  they  went  at  it  like  steam  engines.  The 
boss  realized  what  was  the  trouble  and  got  them  a  job 
at  the  plaster  shop  in  one  of  the  studios.  "Men  born 
to  that  work  know  how  to  take  it.  You  would  have 
made  yourselves  ill  in  a  short  time  working  as  you  did." 

The  man  who  commanded  the  southern  armies  of 
Russia,  who  has  been  a  guest  in  almost  every  court  in 


Emil  Jannings'  picture,  "The  Last  Command,"  has  drama  behind  the 
scenes.  Leaning  over  Jannings'  right  shoulder  is  General  Savitsky. 
In  the  foreground,  with  profile  to  the  camera,  is  Alexander  Ikonikof. 


Directly  above:  Ivan  Lebedeff,  popular  RKO 
player,  at  the  entrance  of  the  Russian  Amer- 
ican Art  Club.  Top:  Will  Rogers  and 
Theodore  Lodi  (Lodijensky)  in  "They  Had 
To  See  Paris." 


Europe,  whose  slightest  wish  was  an  order  in- 
stantly obeyed,  told  me  he  was  'very  well 
satisfied1  with  this  job  that  paid  him  thirty- 
five  dollars  a  week.  "My  tastes  are  very  sim- 
ple," he  said,  "for       (Continued  on  page  120) 


SCREENLAND 


Polly  Moran 


Left,  above:  reading  from  left  to  right,  Polly 
and  Rose.     Sonny  Boy,   where  is  thy  sting? 


Above:    ah-ah-ah-ah-hah-hah-hahl     Is    this  a 
singing  lesson  or  a  laughing  lesson? 


Polly  Moran— no  relation  to  Moran  and 
Mack — is  not  going  to  be  left  behind  by  any' 
body.  If  her  pals,  Cliff  Edwards  and  Benny 
Rubin  can  sing  theme  songs,  why  can't  she? 
So  she  looked  around  her  and  studied  the  great 
theme  song  singers  of  all  time — well,  anyway, 
since  the  talkies  came  in.  And  with  a  little  of 
this  and  a  little  of  that — a  dash  of  Jolson  and 
a  soupcon  of  Tibbett — Polly  evolved  a  Technique. 
It  may  be  terrible,  but  it's  her  own. 


Left:  the  Big  Moment  of  any  theme  song,  determin- 
ing which   will  pass   out  first,  singer  or  audience. 


for   June  1930 


2? 


Puts  Over  a Theme  Song 


Above:  'To  You  a  Rose,'  'To  Me  a  Rose,'  'To 
Us  a  Rose' — well,  well,  make  up  your  mind! 


Right,  above:  though  it  may  be  old  and  gray, 
still  to  her  it's  a  nose-gay — let  it  go. 


what  shall  I  sing?'1  mused  Miss  Moran. 
have  it  —  something  about  a  nose — I 
mean  a  rose.  There's  'The  Last  Rose  of  Sum- 
mer,' but  that  might  be  getting  personal.  There's 
The  Rose  of  Sharon' — no,  not  in  this  business. 
There's  'Cock-Eyed  Rose,  I  Love  You.'  And 
'Rose  of  the  West,'  'Only  a  Rose,'  'To  a  Wild 
Rose,'  and  just  'Rose.'  Darn,  why  didn't  I  bring 
violets?  Anyway,  study  these  little  lessons  in 
vocalizing  and  trust  your  tonsils." 


Right:  when  the  theme  song  singer  forgets  everything 
and   ends   on    a   loud,   triumphant  " Ma-a-a-a-mmy !" 


SCREENLAND 


A 


Louis  Bromfield,  the  important  young  American  novelist,  with  "The  Green  Bay 
Tree,"  "The  Good  Woman,"  "Possession"  and  "Shattered  Glass"  to  his  credit,  is 
now  writing  a  screen  story  for  Evelyn  Laye,  in  which  the  beautiful  English  stage 
star  will  make  her  motion  picture  debut.  Mr.  Bromfield  is  pictured  here  with  his 
secretary  in  his  office  at  the  Samuel  Goldwyn  Studios. 


Louis  Bromfield's 

Hollywood  Impressions 


As  told  to  Marie  House 


I've  only  been  in  Hollywood  three  weeks  and  already 
I'm  a  California  enthusiast! 
It  has   climate,   scenery,   fascination,  everything. 
Fve  spent  much  of  my  life  in  New  York  and  abroad 
and  I  didn't  know  what  I  was  missing  until  I  came  to 
Hollywood. 

Fve  wandered  all  over  Europe.  From  London,  to 
Switzerland,  to  the  Riviera,  three  months  of  each  year 
in  Paris,  summers  in  Spain.  Fve  been  such  a  nomad  Fve 
had  to  open  four  bank  accounts  in  four  different  countries 
and  it's  taken  heavy  bookkeeping  to  keep  everything 
straight. 

The  summer  months  have  generally  found  me  in  the 
Pyrenees  Mountains.  I  am  reminded  of  the  Pyrenees  when 
I  look  around  me  here,  at  the  hills  and  the  valleys.  The 
scenery  is  much  alike— but  the  climate  is  different.  Here 


it  is  wonderful  all  of  the  year  around:  in  Spain  only  in 
the  summer.    In  winter  it's — well,  we  won't  mention  that. 

The  scenic  trips  to  be  made  here  are  beautiful.  Re- 
cently we  went  to  Santa  Barbara  and  Montecito,  one  of 
the  most  picturesque  tours  anyone  could  make.  Sicily  or 
the  Riviera  have  nothing  to  compare  with  it,  particularly 
in  the  matter  of  flowers.  Over  there  the  blossoms  are 
either  frost  bitten  or  else  burnt  to  a  crisp,  due,  I  suppose, 
to  the  sudden  drops  in  temperature.  And  it  isn't  as  nice 
to  live  over  there  either,  because  those  old  houses  were 
not  built  for  comfort.  Of  course,  it  is  cool  at  nights  here, 
but  that  is  one  of  the  things  I  like.  No,  the  only  place 
like  this  in  the  world,  I  believe,  is  the  South  Sea  Islands, 
for  climate. 

Hollywood  is  a  splendid  place  to  work.  I  am  hurrying 
now  to  finish  a  new  novel  and  I  have  several  plays  in 


for    June  1930 


27 


Eminent  Author  Proves 
the  Cinema  Capital  is 
Long  on  Scenery  but 
Short  on  Orgies 

mind.  If  everything  goes  well  I  should  like  to  make  Hol- 
lywood my  headquarters,  with  about  three  months  vacation 
every  year.  I'd  want  to  get  away  that  much.  But  here 
I  have  a  home  at  the  top  of  Coldwater  Canyon,  with  a 
garden,  leisure  and  plenty  of  room  for  breathing. 

New  York  is  an  entirely  different  matter!  It  is  in  a 
class  all  by  itself.  Of  course,  I  like  New  York  better  than 
any  place  in  the  world,  a  wonderful  place,  New  York; 
but  not  for  long  at  a  time.  It's  a  place  to  visit.  Still  it 
hardly  seemed  like  the  same  place  when  I  passed  through 
this  last  time — everyone  is  out  here,  now! 

I  feel  quite  at  home  in  Hollywood.  I  felt  at  home  when 
I  arrived,  for  here  were  all  of  the  old  familiar  faces  I'd 
been  used  to  seeing  on  Broadway.  I  have  been  around 
the  theater  much  of  my  life;  so  it  was  nice  to  meet  such 
old  friends  as  Ina  Claire,  Florence  Eldridge,  Alison  Skip- 
worth,  Fred  Kerr.  And  then  the  writers,  Steve  Benet, 
Martin  Flavin,  A.  E.  Thomas,  Sidney  Howard — I  could 


His    favorite    heroines:     Mrs.    Bromfield  and 
the  two  little  Bromftelds.    Life  is  a  lot  of  fun 
for  best-sellers! 


He  is  young,  good-looking,  and  served  with  the  French 
army  during  the  war.  Bromfield,  born  in  Ohio,  has 
become  a  world  figure  through  his  books,  which  have 
been  artistic  as  well  as  commercial  successes.  Here's 
the  author  at  St.  Moritz,  Switzerland. 


go  on  indefinitely  naming  the  deserters  from  Broadway. 

Many  wonder  if  this  sudden  influx  to  Hollywood  will 
harm  the  New  York  theatrical  business.  There  isn't  a 
doubt  of  it.  How  can  it  help  but  make  a  difference?  I 
believe  they  have  trouble  getting  writers  and  even  the 
producers  have  joined  the  procession — west!  And  how  is 
it  easy  to  cast  a  play  with  more  than  half  the  actors  on 
the  coast? 

I  had  offers  to  do  scenarios  before,  but  they  did  not 
tempt  me,  for  it  seemed  that  in  the  old  days,  the  silent 
film  stories  were,  after  all,  of  little  importance,  from  the 
writer's  point  of  view.  Now  there  is  the  dialogue  to 
write. 

Writing  for  the  movies  is  different  from  novel  writing — 
but  then  I  am  not  entirely  a  novelist.  I  have  done  every 
kind  of  writing,  newspaper  work,  musical  and  dramatic 
criticisms. 

The  perfect  talkie  has  not  yet  been  made.  Possibly  it 
never  will  be  made,  but  only  a  lot  of  experiment  can  make 
the  necessary  progress.  It  can't  come  by  imitating  the 
stage  too  closely.  It  is  quite  all  right  to  take  when  you  can 
from  the  stage,  but  after  all,  talking  pictures  provide  a 
different  medium.  I  believe  the  talkies  are  the  first  really 
new  development  of  an  art  form  in  the  last  hundred  years. 

The  best  talking  pictures  will  be  made  from  original 
stories,  I  believe.  It  is  just  as  important  and  just  as  much 
of  a  real  job  as  writing  novels.  I  would  just  as  soon 
see  my  novels  translated  into       (Continued  on  page  112) 


28 


SCREENLAND 


Anagrams, 
/  Love  You 


Here's  the  New  Indoor 
Sport  of  the  Stars 


What,  you  don't  know  what  an  Ana- 
gram is,  or  Anagrams  are?  Why, 
an  Anagram  is  made  by  changing  a  given 
word  with  a  given  letter.     Try  it  some 
time   when,   as  happens   too   often,  life 
becomes  a  great,  big  bore. 


Joan  Crawford  meets  a  tough  Anagram  and  refuses  to  go 
on  with  the  show  until  she  solves  it.  Director  Mai  St. 
Clair  and  Johnny  Mack  Brown  will  give  her  one  more 
minute  and  then  they  will  drag  her  back  before  the  cameras 
to  shoot  some  more  "Montana  Moon." 


TRYING  to  trace  the  inception  of  a  fad  is  like 
isolating  that  parrot'fever  germ — hard  to  do! 
And  now  that  Hollywood  has  gone  more  or  less 
Anagram-crazy  everybody  is  claiming  credit  for 
having  initiated  the  vogue.  Research  shows  that 
last  fall  an  inconspicuous  New  Yorker  visited  studio- 
land  with  a  box  of  Anagrams  tucked  under  his  arm. 
Thereafter,  the  epidemic  spread  to  that  alert  writing 
crowd  from  Broadway — Edwin  Justus  Mayer, 
Herman  Mankiewicz,  Arthur  Caesar,  Bertram 
Milhauser  and  their  ilk.  Now  everybody's  doing 
it.  The  stars  have  caught  on  and  there's 
stopping  them. 


*  E  R  with  T  ,  ER  ALL  « 

A  i  L  A  &  x 


Si  VAT 


3 


Q  /MOW 


L 


Here's  a  page  from   the  Ana- 
gram Book  showing   how  Mai 
St.  Clair  did  it. 


MORE  FOUR-LETTER  WORDS.  BUT  THEY'RE 
NOT  ALWAYS  AS  EASY  AS  THEY  LOOK. 


RAID  with  Y 

PEST  with  Y 

X  X  R  S. 

MOVE  with  N 

Y£.tLQ.tL 

SNOB  with  I 

R±.  s_  o  tL 

OUST  with  G 

SUET  with  P 

U  P_  S_  £  T 

PAID  with  V 

V.AB-J-Q. 

VEAL  with  G 

G-  A  V  B  t- 

RAGE  with  Z 

&  P>  A  2-  B 

T  I  M  E  with  R 

M  LUB.  £. 

Joan  Crawford's 
score.  Don't  we 
keep  saying  that 
you  have  to  be 
smart  to  be  a 
star? 


Left :  J  ohnny 
Mack  Brown's 
Anagrams  test. 
Bright  boy , 
John. 


for    June    19  30 


29 


Elsie  Janis 

NOV 

The  Beloved  American 
Comedienne  is  Carrying 
On  in  Films 


By  Kenneth  Everett 


R 


EPORT  to  the  Paramount  studios  in  Hollywood 
as  writer,  advisor,  director  and  actress." 

One  day  in  October  of  1929  that  message 
sped  from  Hollywood  to  a  fine  old  house  at 
Tarrytown  on  the  Hudson,  New  York,  and  was  delivered 
into  the  hands  of  a  woman  who  read  it  with  a  character- 
istic quick  glance,  folded  it,  shoved  it  into  her  pocket,  and 
began  packing  for  the  trip  across  the  continent. 

The  wire  was  in  reply  to  one  she  had  sent  westward 
that  morning.  "Am  ready  to  go  to  work,"  her  message 
read. 

Thus,  within  three  hours  after  deciding  to  do  so,  Elsie 
Janis  re-entered  the  business  that  has  been  her  life,  her 


Her  job  in  motion  pictures  is  to  write,  direct, 
and  supervise,  and  her  first  assignment  is 
"Paramount    on    Parade,"    the   all-star  revue. 


She  is  still  the  Elsie  Janis  you  have  seen  so 
often  on  the  stage.    Same  'Slim  Princess'  smile, 
figure,  voice,  and  wit. 


real  affection,  her  sole  interest,  her  great  adventure,  since 
babyhood. 

For  many  months  Elsie  Janis,  the  best-known  comedienne 
and  impersonator  of  the  great  ever  developed  by  the  Amer- 
ican stage,  had  been  in  retirement  and  seclusion.  Over- 
work, her  doctors  called  it;  a  nervous  breakdown  induced 
by  the  all-consuming  energy  which  always  heretofore  had 
made  her  laugh  when  rest  was  urged.  Her  mother,  who 
has  been  her  constant  companion,  advisor  and  friend  all 
through  her  life,  took  her  from  Paris,  where  she  had  been 
stricken,  to  the  south  of  France.  There,  during  the  course 
of  several  months,  health  slowly  returned. 

She  took  ship  for  America. 

Elsie  Janis  was  ready  for  the  show  business  again. 

She  came  to  Hollywood  with  nothing  more  definite  ill 
mind  than  the  answering  wire  from  Jesse  L.  Lasky  had 
been.  There  had  been  a  verbal  agreement  between  them. 
That  was  all.  Several  years  before,  while  playing  in  "Oh 
Kay,"  Miss  Janis  had  appeared  in  Los  Angeles.  Mr.  Lasky, 
at  the  time,  had  urged  her  to  join  his  film  company  at  the 
conclusion  of  her  stage  engagement  but  she  had  hesitated. 
"I  will,  some  day,"  she  had  told  him.  "Whenever  you 
are  ready,"  was  his  reply. 

She  arrived  in  Hollywood  and  found  that  Lasky  and 
his  associates  in  Paramount  were  considering  the  produc- 
tion of  an  all-star  revue.  They  wanted  something  beyond 
the  accepted  revue  formula,  however;  the  public  was  a 
bit  tired  of  huge  chorus  numbers,  spectacular  settings,  and 
a  screen  crowded  with  principals,  they  believed. 

Miss  Janis1  mind  went  back  to  the  year  she  and  Her 
Gang  had  returned  from  the  battle  fronts  of  Europe,  where 
they  had  trouped  through  the  mud  from  rest  area  to  rest 
area  that  'the  boys'  might  be  cheered  a  bit.  They  had 
returned  to  Broadway  and  found  that  the  big  town  was 
literally  dazed  and  staggered  by  the  number  of  elaborate 
stage  revues  offered  by  almost  every  theater.  Shrewd 
show-woman  that  she  is,  Miss  Janis  (Continued  on  page  110) 


30 


SCREENLAND 


Dr.  Mario  Marafioti  has  been  signed  by  Metro- 
Goldwyn-Mayer  to  train  their  stars'  voices.  Grad- 
uate of  the  University  of  Naples,  Dr.  Marafioti 
was  for  16  years  throat  specialist  and  consulting 
physician  of  the  Metropolitan  Opera  House ;  and  has 
been  for  10  years  a  noted  teacher  of  voice  culture. 


HAVE  you  a  favorite  moving  picture  actor  whose 
inadequate  voice  is  keeping  his  face  from  the 
talking  screen? 
Have  you  a  favorite  moving  picture  actress 
whose  voice  displeases  you 
because  it  doesn't  seem  to  fit 
her  visual  personality? 

If  you  have  lost  one  of 
your  especial  pets  because  his 
voice  doesn't  come  up  to 
talkie  scratch,  or  if  your 
best-loved  screen  star  doesn't 
talk  the  way  you  think  she 
should — cheer  up!  In  this 
day  of  lifting  faces,  patting 
off  chins,  and  rolling  down 
hips,  very  little  is  impossible. 
There  has  been  a  revolution 
in  voice  training  just  as  there 
has  been  in  skirts.  And 
thereby  hangs  the  reason  for 
my  sudden  trip  to  Holly- 
wood. 

When  the  news  got  out 
that  I  had  been  signed  by 
the  Metro -Goldwyn- Mayer 
Company  to  go  to  Holly- 
wood to  devote  my  time  to 
the  training  of  their  players' 
voices,  my  telephone  scarcely 
stopped  ringing.  And  the 
queries  were  practically  all 
the  same.  Everybody 
wanted  to  know  if  an  inad- 


Dr.  Marafioti  is  proud  of  his  pupil,  Grace  Moore 
of  the  Metropolitan.    Here  is  Miss  Moore  with 
Lawrence  Tibbett  just  after  she  signed  the  con- 
tract making  her  a  Metro  singing  star. 


(?AN 

With  Correct  Training  Any 
Screen  Star  May  Be  a  Vocal 
Success,  Says  Celebrated 
Voice  Expert 

By  Dr.  Mario  Marafioti 


equately  vocal  screen  star  could  be  developed  into  a  credit- 
able talking  picture  actor. 

That's  a  pretty  big  question.  But  I  answered  them  all: 
Yes! 

Perhaps  you  think  that  was  egotistical  of  me.  But  I 
do  not  say  a  failure  can  be  turned  into  a  success  because 
I  believe  myself  to  be  infallible.  I  say  it  for  two  reasons 
which  I  have  discovered  after  sixteen  years  devoted  to  the 
subject : 

First:    Anybody  can  learn  to  speak  so  that  his  or 
her  voice  will  be  a  joy  to  listen  to,  both  in 
private  life  and  in  talking  pictures;  and — 
Second:    Anybody  can  learn  to  sing  who  has  a 
naturally  musical  soul  in  his  body  and  an  in- 
telligent brain  in  his  head. 
It  may  surprise  you  to  know  that  singing  lies  not  in  the 
vocal  cords  but  in  the  mind,  the  soul  and  the  body. 

That  sounds  revolutionary,  doesn't  it?  But  it's  true. 
It  has  taken  me  ten  years  to  prove  it.  But  I  have  proved 
it  to  my  entire  satisfaction.    My  proof  lies  in  the  case  of 

Miss  Grace '  Moore  of  the 
Metropolitan  Opera  Com- 
pany whose  instructor  I  have 
been  from  the  beginning  of 
her  career.  And  not  in  her 
case  alone,  since  I  have  had 
some  thirty-five  or  thirty-six 
other  striking  examples,  in- 
cluding Marguerite  D  Al- 
varez,, of  the  Metropolitan; 
Julia  Culp,  one  of  the  great- 
est lieder  singers  in  the 
world;  Cobina  Wright — but 
perhaps  the  most  dramatic 
of  all  was  John  Halliday, 
who  while  playing  in  the 
Broadway  success,  "The 
Spider,"  completely  lost  his 
voice.  He  took  many  kinds 
of  treatment,  and  last  of  all 
had  an  operation — without 
results!  He  came  to  me  and 
his  voice  was  restored. 

But  let's  go  back  a  bit.  I 
was  born  in  northern  Italy 
and  from  childhood  wanted 
to  sing  as  I  had  a  natural 
aptitude  that  way.  But  my 
parents  forced  me  to  study 
medicine. 


for    June    1930  31 

stars'  voices 
Be  Remodeled? 


When  I  graduated  from  the 
University  of  Naples,  I  came  to 
America,  went  on  the  staff  of  the 
Post  Graduate  Hospital,  and  later 
became  throat  specialist  and  phy- 
sician at  the  Metropolitan  Opera 
House. 

Here  I  treated  the  greatest  sing- 
ers of  the  day :  Caruso,  Chaliapin, 
Scotti,  Titta  Ruffo,  Galli  Curci, 
Alma  Gluck,  Frances  Alda,  Julia 
Culp,  and  others. 

I  treated  and  studied  their 
throats  every  day  for  sixteen  win- 
ters, and  slowly  I  began  to  develop 
a  method  of  singing  which  was 
contrary  to  all  established  prin- 
ciples. I  explained  it  to  my  con- 
freres.    And  again  I  heard  that  word  'revolutionary.' 

It  was.    It  later  revolutionized  the  teaching  of  singing. 

Immediately  I  had  evolved  my  method  of  singing,  I 
wrote  my  first  book:  "Caruso's  Method  of  Voice  Produc- 
tion," which  gives  the  physiology  of  singing.  Later,  I 
wrote  "The  New  Vocal  Art,"  which  gives  the  psychology 
of  singing.  Recently  I  have  completed  a  third  book,  "The 
Universal  Book  of  Vocal  Method." 

From  the  time  my  first  book  was  published,  critics, 
singers,  and  doctors  fell  on  me  like  a  landslide.  I  was 
criticized  by  physicians  for  going  outside  of  my  profession. 
And  I  was  criticized  by  professional  teachers  for  invading 
theirs.  And  every  singer  who  clung  to  the  old  tradition 
of  Bel  Canto  defied  me  to  prove  my  case. 

It  was  then  I  started  with  Miss  Moore,  instructing  her 
according  to  the  method  called  'revolutionary.1  Miss 
Moore  is  a  national  figure  whose  career  needs  no  explain- 
ing. Suffice  to  say,  she  has  sung  at  the  Metropolitan  for 
some  time  and  has  recently  been  signed  to  appear  in  musical 
operettas  with  the  Metro-Goldwyn-Mayer  Company.  Her 
first  picture  may  be  "Jenny  Lind,"  and  later  she  will  do 
"The  Merry  Widow"  with  Lawrence  Tibbett. 

And  now,  you  would  probably  like  me  to  explain  this 
method  that  I  have  used  successfully  for  years  and  which 
I  propose  to  use  to  get  the  best  possible  results  from 
players  on  the  talking  screen.  Since  my  first  book  was 
about  Caruso's  natural  method  I  will  use  him  as  an  ex- 
ample. 

Nearly  everybody  thinks  Caruso  became  one  of  the 
greatest  tenors  in  the  world  because  of  his  natural  laryn- 
geal apparatus.  Yet  when  he  was  twenty  years  old,  a 
celebrated  Italian  laryngologist  told  him :  "You  will  never 
become  a  famous  singer.  You  have  not  the  throat." 

The  latter  statement  was  true — there  was  nothing  ex- 
ceptional in  Caruso's  laryngeal  apparatus.  The  larger  size 
of  his  vocal  cords  or  any  other  peculiarities  in  his  vocal 
organs  were  not  the  decisive  elements  in  his  phenomenal 


singing.  On  the  contrary,  there 
were  shortcomings  in  his  throat 
which  were  so  evident  that  if  he 
had  had  to  rely  on  his  vocal  organs 
alone  for  his  career,  he  would 
perhaps  never  have  become  a 
singer  at  all. 

What  then  was  the  secret  of 
Caruso's  singing? 

It  lay  in  the  fact  that  he  had 
cavities  in  his  head  and  in  his 
body  which  acted  as  an  immense 
resonating  case  for  his  tones. 
'  Let  me  make  that  clearer!  The 
massive  volume  and  rare  quality 
of  Caruso's  voice — it's  exceptional 
characteristics — were  due  to  the 
resonance  of  his  body.  As  one 
London  doctor  said:  "Caruso's  whole  body  was  resonant. 
Even  his  bones  were  musical."  This  resonance  of  his  was 
like  that  of  a  Stradivarius  violin.  His  much  emphasized 
vocal  cords  when  compared  to  the  striking  feature  of  the 
resonance  of  his  body,  had  no  more  value  than  the  strings 
of  a  Stradivarius  would  have  if  placed  on  a  banjo. 

This  resonant  quality  so  essential  is  exemplified  again 
in  the  piano.  The  vocal  cords  of  a,  piano  are  its  strings. 
But  the  soul  of  the  piano  is  the  sounding  board.  Take  the 
sounding  board  away,  touch  the  strings  and  they  sound 
like  nothing  on  earth. 

A  Stradivarius  has  a  more  beautiful  tone  because  its 
maker  applied  more  genius,  more  patience,  more  hard  work 
to  his  task  of  making  his  instrument  resonant  than  those 
of  any  other  violin  builder. 

It  is  for  this  reason  of  resonance  that  any  intelligent 
motion  picture  star  can  not  only  learn  to  talk  but  can 
also  learn  to  sing  and  sing  well,  since  the  voice  does  not 
depend  on  a  well  turned  out  pair  of  vocal  cords  but  upon 
the  patience  and  hard  work  used  to  build  up  the  voice 
by  utilizing  the  resonance  chambers  in  the  mouth,  nose, 
head  and  chest,  and  upon  the  ability  of  the  singer  to  look 
on  his  vocal  cords  as  mere  sideshows. 

Up  until  the  time  my  first  book  was  published  the  old 
tradition  of  Bel  Canto  had  held  sway.  Simply,  Bel  Canto 
means  singing  to  produce  beautiful  sounds.  But  I  preach 
the  doctrine  of  True  Canto,  singing  to  express  the  content, 
the  words,  of  the  song.  Beautiful  singing  is  clear  singing, 
in  my  league. 

It's  really  pathetic  how  many  people  would  love  to  sing. 
The  screen  stars  are  not  alone  in  this  ambition,  for  singing 
is  the  most  beautiful  and  most  satisfying  of  all  the  arts.  It 
brings  happiness.  It  means  the  outpouring  of  all  one's 
joys  and  miseries.  Singers  are  rarely  ever  unhappy,  intro- 
spective beings.  They  are  usually  simple,  natural,  beauty 
and  pleasure- loving  souls. 

Now,  all  you  who  would  love   (Continued  on  page  108) 


Did  You  Know  That: 

"Anybody  can  learn  to 
speak  so  that  his  or  her  voice 
will  be  a  joy  to  listen  to,  both 
in  private  life  and  in  talking 
pictures;  and — 

"Anybody  can  learn  to 
sing  who  has  a  naturally 
musical  soul  in  his  body  and 
an  intelligent  brain  in  his 
head"? 


32 


SCREENLAND 


WHY 


What  It  Costs  To  Be 
A  Beautifully  Dressed 
Screen  Star,  in  Money 
and  in  Hard  Work 


Miss  Bennett  wears 
costly  concoctions 
like  this — it's  her 
job  to  be  beauti- 
fully dressed. 


Constance  Bennett  is  one  of  the  most  glamourous 
girls  who  ever  graced  the  screen.  The  daughter 
of  Richard  Bennett,  she  is,  of  course,  a  gifted 
actress;  and  she  is  beautiful.  But  her  greatest 
charm — her  exquisite  poise  and  grooming — is  to 
her  own  credit,  for  she  has  developed  her  flair 
for  clothes  into  a  fine  art. 


TWO  hundred  and  fifty  thousand  dollars  a  year  for  clothes! 
That  sounds  like  wicked  extravagance,  doesn't  it?  Yet 
it  is  about  the  sum  I  expend  each  twelve  months  for  coats, 
hats,  dresses,  suits,  gloves,  shoes,  stockings,  accessories,  and 
personal  grooming.  • 

Recently  when  I  returned  from  Paris  on  the  Bremen,  the  valuation 
of  the  clothes  in  my  twenty-five  trunks — not  counting  jewelry,  of 
course — even  at  a  modest  appraisal  totalled  over  two  hundred  and 
fifty  thousand  dollars. 

Through  a  newspaper  story  which  was  syndicated  in  every  state 
in  the  union,  this  fact  became  known  and  immediately  I  was 
deluged  with  hundreds  of  letters. 

Two  debutantes  from  Denver  wrote  me  in  no  uncertain  terms. 
A  little  mill  girl  from  down  south  in  Louisiana  sent  me  her  opinion. 
Also  a  stenographer  from  San  Antonio;  a  dressmaker  from  Clear- 
water, Oklahoma;  a  milliner  from  Spartanburg,  South  Carolina. 
Two  Junior  Leaguers  from  the  smart,  wealthy  little  city  of  Wheeling, 
West  Virginia.  And  dozens  of  other  girls  from  almost  every  state 
and  from  almost  every  metier  in  life. 

But  the  unusual  angle  about  these  letters  was  that  while  the 
girls  from  comfortable  or  rich  homes  took  exception  to  the  fact 
that  I  spend  such  a  large  sum  on  clothes,  every  single  working  girl 
said,  in  substance:  "That  is  what  I  have  always  dreamed  of  having 
— enough  money  to  look  as  nearly  perfect  as  possible  every  hour 
of  the  day  and  night." 

That  states  my  case  exactly.  I  do  spend  what  must  seem  an 
exorbitant  amount  of  money  to  the  average  person.  But  I  take 
the  business  of  being  a  moving  picture  star — just  as  I  take  the 
business  of  buying  clothes — seriously.  I  feel  that  I  have  a  great 
responsibility  towards  the  hundreds  of  thousands  of  fans  who  have 
made  my  career  possible. 

Perhaps  I  can  explain  it  better  this  way: 

Suppose  you  were  walking  through  the  streets  of  London.  Oc- 
casionally you  would  pass  a  manufacturing  plant  or  a  substantial 


for    June  1930 


33 


I  Spend  $250,000 

A  Year  On  Clothes 

By  Constance  Bennett 


An  expensive  item 
of  a  star's  ward- 
robe is  evening 
wraps.  Constance's 
is  sable-trimmed. 


looking  shop  where  over  the  gate  or  on  one  of  the  show  windows 
you  would  see  a  golden  crown.  And  under  it,  in  gilt  letters,  the 
words:  Purveyor  to  His  Royal  Highness,  King  George  the  Fifth. 

The  shop  might  be  a  butcher  shop,  purveying  lamb,  beef,  and 
mutton  for  the  royal  table.  Or  it  might  be  a  large  fishmonger's 
store,  providing  salmon,  brook  trout,  black  sole,  lobsters  and  mussels 
for  the  noble  diners.  Or  it  might  even  be  a  large  jam  or  marma- 
lade factory — such  as  Cross  and  Blackwell's. 

Whatever  it  is,  the  shopkeepers  and  manufacturers  of  Great 
Britain  consider  it  the  highest  honor  to  be  called  upon  to  provide 
delicacies  and  necessities  for  Their  Majesties'  Household.  It  is  a 
tremendously  responsible  job,  for  every  fragment  of  food  must  be 
one  hundred  percent  perfect. 

Now  I  look  on  my  work  as  a  motion  picture  star  somewhat  in 
this  category.  But  I  consider  I  have  an  even  more  important  job. 
I  look  on  myself  as  a  Purveyor  of  Dreams  to  Their  Imperial  High- 
nesses, the  American  People!  For  that  reason,  on  the  screen  and 
off,  I  try  to  keep  myself  groomed  as  nearly  perfectly  as  possible 
to  satisfy  the  craving  for  romance  which  lies  in  the  heart  of  nearly 
every  hardworking  American  citizen. 

America  is  peculiarly  in  need  of  beauty  and  romance — much  more 
so,  indeed,  than  Great  Britain  or  Continental  Europe. 

Why? 

Because,  until  the  last  few  years  hardly  any  people  in  this  country 
have  had  either  the  time  or  the  money  to  sit  down  quietly  and 
enjoy  the  benefits  of  leisure  and  culture:  to  try  to  realize  their 
dreams. 

We  all  know  it  has  only  been  a  few  hundred  years  since  our 
land  was  colonized  by  groups  of  hard-working,  God-fearing  people. 
They  fought  the  Indians  all  the  year,  sweated  in  summer,  hungered 
and  froze  in  winter,  married,  procreated  and  died. 

Their  children  and  their  childrens'  children  carried  on  the  fight. 
There  were  homes  and  schools  to  be  built,  fields  to  be  ploughed 
and  fenced,  railroads  to  be  constructed,  churches  to  be  raised.  There 
never  was  much  opportunity  for  personal  romance.  To  enjoy  the 
satisfactions  that  only  centuries  of  money,  security  and  ancestry 
can  give. 

Even  today,  life  to  most  people  is  hard  work.  Competition  is 
keen.  If  we  don't  do  our  jobs  properly  there  are  ten  people  to 
step  in  and  take  our  places.  Therefore,  when  we  work  our  allotted 
number  of  hours,  since  there  is  no  opera  to  speak  of  outside  of 
New  York  and  Chicago,  few  stage  productions,  and  little  restaurant 
life — in  the  continental  sense — millions  of  us  pour  into  the  motion 
picture  houses  for  relaxation  and  amusement,  to  try  to  satisfy  within 
a  few  hours  not  only  the  romance  and  beauty  we  have  been  denied, 
but  to  try  also  to  satisfy  the  beauty  and  romance  denied  our  fathers 
and  our  great  grandfathers. 

The  millions  who  attend  picture  theaters  each  week  demand 
three  things:  first,  youth;  second,  romance;  third,  beauty.  They  ex- 
pect their  screen  stars  to  strive  to  be  as  lovely,  as  exquisitely  dressed 
as  any  princess  that  ever  danced  through  a  child's  fairy  book.  Never 


34 


SCREENLAND 


for  one  moment,  on  the  screen  or  off, 
should  a  star  be  less  than  her  best. 
Never  once  should  she  retire  into  a 
second-rate  negligee,  put  her  feet  on 
a  pile  of  silken  cushions,  and  lapse  into 
the  commonplace. 

This  eternal  vigil  of  keeping  clothes 
and  complexion'Conscious  not  only 
means  the  outlay  of  what  seems  an 
extravagant  sum  of  money,  but  it  also 
means  the  outlay  of  an  inordinate 
amount  of  work.  Just  let  me  give  you 
an  idea  of  the  wardrobe  necessary  to 
accomplish  this  purpose.  And  while 
I  am  telling  you,  imagine  the  weary 
hours  necessary  to  search  out,  look  over, 
select,  and  fit  these  hundreds  of  pieces 
of  wearing  apparel. 

At  first,  it  seems  like  an  Aladdin's 
dream.  But  later,  buying  clothes  be' 
comes  the  most  serious  business  in  the 
world — when  you  realize  your  screen 
success  depends  largely  upon  your  per- 
sonal  appearance.  It's  then  you  com- 
mence to  realise  that  you  need 
philosophy,  patience,  and  most  of  all 
— restraint! 

It  is  exceedingly  difficult  to  acquire 
distinction  in  dressing  when  the  best 
Paris  models  are  copied  almost  im- 
mediately in  New  York,  in  fifteen  dol- 
lar machine-made  dresses.  The  least 
a  woman  should  hope  for  when  she 
spends  a  quarter  of  a  million  dollars 
a  year  on  her  clothes  is  exclusiveness. 
But  it  is  difficult  work  to  get  it.  Even 
for  a  woman  with  practically  unlimited  means. 

The  first  article  a  screen  star  should  buy — even  before 
her  underwear — is  the  best  string  of  oriental  pearls  she 
can  afford.  These  are  an  absolute  requisite  since  they 
can  be  worn  at  almost  any  hour  of  the  day  or  night  and 
with  almost  any  sort  of  costume.  Pearls  cost  anywhere 
from  a  thousand  dollars  for  a  tiny  string  up  to  the  hun- 
dreds of  thousands.  A  triple 
strand  necklace  of  medium- 
sized,  perfectly  matched  ori- 
ental pearls  can  be  procured 
for  one  hundred  thousand. 

Naturally,  every  star  cares 
to  have  more  than  a  string  of 
pearls.  She  may  wish  to  own 
in  addition  a  diamond  and  ruby 
ring  and  bracelets,  an  emerald 
set,  and  other  combinations  of 
costly  gems.  Distinguished 
women  in  any  country,  of 
course,  acquire  the  best  gems 
they  can  find  and  then  have 
them  re-set  as  occasion  requires, 
always  keeping  the  same  jewels 
but  changing  the  style  of  set- 
ting, the  design,  as  fashion  dic- 
tates. 

The  next  most  expensive 
item  in  any  motion  picture 
star's  wardrobe  is  wraps.  One 
should  have  a  day-time  coat  in 
mink  or  sable  which  can  cost 
anywhere  from  five  to  twenty 
thousand.   Also,  it  is  necessary 


Constance    Bennett    in    a  smart 
traveling  costume:  tailored  tweeds 
over  which  a  beaver  coat  is  worn. 
Simple — and  expensive! 


Just  a  Few  Items 
in  That  $250,000  Wardrobe: 

7  evening   gowns   and  matching 
wraps:  $500  to  $1,000  each. 

7  afternoon  outfits:  $150  to  $1,000 
each. 

5  sports  ensembles:  $200  each. 

2  tailored  suits:  $250  each. 

2  fur   neckpieces   for   the  suits: 
$500  to  $1,500  each. 

2  riding  habits   (1  side-saddle,  1 
cross-saddle) :  $250  each. 

6  pairs  pajamas:  $100  to  $900  each. 

1  sable  or  mink  day-time  coat: 
$5,000  to  $20,000. 


to  have  an  evening  wrap  of  ermine  or 
chinchilla,  which  would  run  from  five 
to  twenty  thousand  for  ermine,  up  to 
fifty  thousand  dollars  and  over  for  chin- 
chilla. Nor  does  that  include  two  fur 
neck  pieces  for  suits,  from  five  to  fif- 
teen hundred  each. 

Then  take  day-time  clothes.  Since 
we  are  shopping  for  the  whole  year, 
a  star  should  have  at  least  five  sports 
suits  at  two  hundred  each. 

And  here  we  mustn't  forget  two 
tailored  suits,  absolutely  indispensable 
for  the  truly  smart  woman's  correct 
wardrobe — at  two  hundred  and  fifty 
dollars  each.  To  say  nothing  of  two 
riding  habits,  one  for  cross-saddle  and 
one  for  side-saddle — at  approximately 
two  hundred  and  fifty  each. 

But  even  the  most  tailored  woman 
can't  live  in  sports  clothes  alone  since 
the  new  fashions  have  appeared  which 
make  luncheon  and  smart  late  after- 
noon ensembles  a  necessity.  Some 
quite  plain  frocks  for  such  occasions 
at  one  hundred  and  fifty  dollars  each 
and  a  few  trimmed  with  fur,  for  elab- 
orate parties  and  teas,  which  may  run 
as  high  as  a  thousand  each,  are  abso- 
lutely essential  for  a  screen  star  who 
appreciates  her  responsibilities. 

And  still  that  leaves  us  without 
evening  dresses  of  which  a  star  should 
have  at  least  seven.    Simple  ones  for 
spring,  lighter  ones  for  summer  and 
gowns  of  a  more  distinguished  type  for 
fall  and  winter.  These  with  suitable  wraps  to  harmonize 
fly  up  the  scale  from  five  hundred  to  a  thousand  each. 
Now,  so  far,  we  haven't  even  touched  on  accessories! 
First  come  shoes.  These  may  cost  from  fifty  dollars  up 
for  day-time,  and  a  star  should  have  at  least  thirty-six 
pairs  a  season,  as  well  as  an  adequate  supply  of  evening 
slippers  which  sometimes  cost  as  high  as  one  hundred  and 

fifty  dollars. 

Then  stockings  present  a 
large  item.  Ten  dollars  a 
pair  for  day-time  to  from 
twenty  to  fifty  dollars  for  eve- 
ning. And  so  many  are  neces- 
sary since  they  are  gossamer. 

Add  to  this,  six  dozen  pairs 
of  gloves;  fine  crepe  underwear 
trimmed  with  real  lace,  at  two 
hundred  and  fifty  each;  lace 
girdles  at  one  hundred  a  piece; 
a  thousand  dollars  a  year  for 
the  care  of  the  hair;  twenty- 
five  hundred  dollars  per  annum 
for  daily  massage;  a  thousand 
dollars  each  twelve  months  for 
specially  prepared  perfumes;  to 
say  nothing  of  manicures, 
creams,  lotions,  powder,  soap, 
handkerchiefs,  bathing  suits, 
in-between  coats,  blouses,  and 
hats — of  which  latter  item  a  star 
should  have  three  for  each  cos- 
tume so  that  she  may  vary  her 
headgear  according  to  the  mood 
she  is  in.      (Cont.  on  page  HB|^ 


^RpLES 
the  STARS 

would  like 
to  PLAY 


Claudette  Colbert 

as  Juliet 


The  charming  Claudette  hopes  some  day  to 
play  Shakespeare's  loveliest  heroine.  Here 
she  is  in  a  dream  costume  symbolizing  her 
conception  of  the  glorious  role. 


Afrrvner 


Kay  Francis 
as 

Cleopatra 


Perhaps  more  than  any  other 
actress  on  the  screen  Kay 
Francis  carries  out  the  popu- 
lar idea  of  the  siren  of  the 
Nile.  She  is  a  subtle  Cleo- 
patra, capable  of  amazing 
intrigue — but  can  you  imag- 
ine her  in  the  queen's  lighter 
moments  when  she  and 
Antony  ran  around  ringing 
doorbells  in  Alexandria? 


Douglas 
Fairbanks,  Jr. 
as 

Mephistopheles 


Young  Doug  is  the  most  imag- 
inative of  all  our  leading 
juveniles.  He  has  confessed  to 
an  ambition  to  play  L'Aiglon 
and  Hamlet;  but  his  newest 
enthusiasm  is  the  part  of 
Mephistopheles.  Here  is  a 
young  modern's  version  of  a 
robust  role,  enacted  against 
modernistic  backgrounds. 


Bert  Long  worth. 


Janet  Gaynor  as  Luana 

from  "The  Bird  of  Paradise" 


The  role  above  all  others  that  Janet 
would  select  to  play  on  either  stage 
or  screen,  if  she  had  her  choice, 
would  be  Luana.  While  in  Hono- 
lulu on  her  honeymoon  she  took 
lessons  in  the  hula  dance.  The  skirts 
and  all  the  trappings  she  wears  in 
these  portraits  are  authentic. 


Autrey 


Jeanette 
MacDonald 

as  Ming  Toy 

from 
"East  is  West" 

This  brilliant  prima  donna  who 
has  deserted  the  stage  for  the 
screen  would  relish  portraying 
the  role  of  the  charming,  coy 
Ming  Toy  f  rom  the  play  that  had 
such  a  success  some  years  ago. 
Miss  MacDonald  gladly  dis- 
guises her  fair  hair  and  wide  eyes 
to  assume  the  straight  black 
banged  wig  and  almond  optics 
of  the  Oriental  heroine. 


<t't?ne   Robert  Hichec 


Mary  Brian  as  Babbie 
from  "The  Little  Minister' 


Her  youth  and  sweetness  make  Mary  Brian 
an  ideal  Barrie  heroine.  She  would  bring 
what  Sir  James  himself  calls  'that  damned 
charm'  to  the  role  in  the  beloved  Barrie  play. 


John 


Mack 

Brown 


as 

the  young 
Abraham  Lincoln 


Some  of  the  rugged  honesty  and  quiet 
strength  of  the  great  national  hero 
have  been  caught  by  Johnny  Mack 
Brown,  who  would,  in  all  sincerity, 
like  to  play  Lincoln  as  a  young  man. 


Hwrell 


Lila  Lee 

as  Mimi 

Lillian  Gish  has  been  the  only 
screen  Mimi  of  "La  Boheme" 
to  date;  so  it  is  interesting  to 
note  the  widely  differing  con- 
ceptions oj  the  popular  part  by 
two  such  outstanding  actress  c. 
as  Lila  Lee  and  Bessie  Love. 
Lila  sees  the  Puccini  heroine  as 
a  fragile,  yearning  beaut] — an 
idealization  of  the  role . 


Bessie  Love 
as  Mimi 


Here  is  another  Mimi — 
a  touching  little  crea- 
ture as  Bessie  Love  re- 
creates her.  She  is  wist- 
ful rather  than  tragic,  a 
thoroughly  sympathetic 
and  understandable 
character  if  not  so  spiri- 
tuelle  as  Miss  Lee  has 
imagined  the  role. 


Gary  Cooper 
as 

Sidney  Carton 


A  little  lesson  in  film  history:  how 
many  of  you  remember  William  Far- 
num  in  the  first  screen  version  of 
Charles  Dickens'  er  A  Tale  of  Two 
Cities?"  It  was  a  notable  production, 
and  Farnum  gave  a  stirring  perform- 
ance. Now  we  introduce  a  new  can- 
didate for  the  role  of  Carton — Gary 
Cooper.  Gary  hopes  to  play  the  part 
on  the  screen  some  day. 


Loretta  Young 
as 

Joan  of  Arc 


And  again — do  you  remember 
Geraldine  Farrar  in  "Joan  the 
Woman?"  What  a  different 
Maid  from  the  delicate,  ethe- 
real martyr  here  portrayed  by 
Loretta  Young!  And  yet  there 
is  a  steely  strength  beneath 
Loretta's  child-like  loveliness, 
and  if  she  were  ever  cast  in  her 
favorite  character  she  would 
acquit  herself  creditably. 


Betty  Compson 
as 

Brunhilde 

It  seems  to  us  that  ij  more  Wagnerian 
heroines  on  the  operatic  boards  looked 
like  Betty  Compson,  the  serious 
musical  entertainments  would  be  as 
popular  as  the  talkies! 


Elmer  Fryer 


Renee  Adorec 
as 

Josephine 


Here  is  a  heroine!  Being  French, 
Renee  has  always  longed  to  play  the 
beautijul  and  brilliant  Empress 
Josephine.  And  these  pictures  prove 
that  she  could. 


Fay  Wray 

as  Kiki 

And  if  you  don't  think  the  once- 
demure  Miss  Wray  could  play 
the  Parisian  gamin  whom  Lenore 
Ulric  created  on  the  stage,  glance 
at  these  portraits  and  change 
your  mind.  Fay  could  play — and 
she  hopes  to  one  of  these  days — 
a  wholly  delightful  Kiki. 


Otto  Dyar 


Merton  of 

the  Movies 

Glenn  Hunter  first  played 
the  role  on  stage  and  screen. 
But  Jack  Oakie  has  been 
hoping  so  hard  to  present 
his  version  to  screen  audi- 
ences that  it  actually  looks 
as  though  Paramount  will 
star  him  in  it.  Watch  out 
for  Oakie  in  "Merton  of 
the  Movies." 

C'tic  Robert  Richer 


William  Powell 

wants  to  play 

A  Wealthy  Retired 
Motion  Picture  Actor 
on  the  Riviera 


Otto  Ofiar 


Bill  couldn't  resist  this.  He  really  would  like 
to  play  Cesare  Borgia  some  time;  but  his 
favorite  role  above  all  others  is  a  rich  retired 
screen  star,  basking  in  sunny  France! 


for    June  1930 


51 


Mrs.  Oakies 

Little  Boy,  Jack 


Just  a  Story  about  a  Regular 
Mother  and  her  Nice  Son 


By 

Keith  Richards 


THIS  is  the  story  of  a 
guy,  a  regular,  natural 
guy,  and  his  mother, 
a    regular,  natural 

mother. 

Meet  Jack  Oakie  and  his 
Ev. 

Mrs.  Evelyn  Offield  (the 
good  old  family  name  was 
Offield)  knows  more  about 
Jack  Oakie  than  anybody  does 
or  ever  will.  They  have  been 
close  pals  ever  since  Jack  was 
born.  That's  why  we're  ask- 
ing Ev  to  tell  us  about  her 
boy  Oakie. 

Just  as  soon  as  Jack  signed 
his  Paramount  contract  and 
could  see  that  he  was  going 


t 


Above:  Jack's  best  girl — she  never 
breaks  a  date,  makes  him  save  his 
money,  and  does  his  mending.  She 
is  Mrs.  Evelyn  Offield. 


Left:  at  the  age  of  four  Jack  was 
known  as  Lewis  Offield  and  his 
mother  had  hopes  that  he  would 
grow  up  to  be  the  governor  of 
New  York  state. 


Right:  the  smile  that  is  the  latest 
screen  sensation.  Jack  Oakie' s 
mother  doesn't  tell  you  he's  misun- 
derstood. She  says  he's  had  a 
good  break,   that's  all. 


thinks  Jack  is  a  swell  boy — 
and  she's  right.  But  she 
doesn't  constantly  remind  you 
that  Jack  Oakie  is  one  of  the 
biggest  stars  of  the  screen. 
She  doesn't  tell  you  that  he's 
misunderstood.  But  she  likes 
Jack  Oakie.  She  says  he's 
lucky.  She  knows  he's  had  a 
good  break. 

.  Now,  Ev  lives  in  a  little 
bungalow  on  a  side  street  of 
Hollywood.  She's  happy  and 
contented  to  see  motion  pic 
tures  and  clip  all  the  pictures 
and  articles  about  Jack  Oakie 
from  the  papers  around  Holly 
wood  and  paste  them  in  a 
book. 


to  stay  in  Hollywood  for  a  few  months,  out  went  a  call 
for  his  Ev  to  hop  on  a  train  and  come  west. 

Ev  is  a  nice  old  lady  with  a  grand  sense  of  humor  and 
a  great  perspective  on  life.  She's  plump,  white-haired 
and  jovial.  She  has  the  identical  Oakie  face  with  every 
wrinkle  in  her  face  a  laugh  wrinkle. 

First,  I'll  tell  you  that  Ev  is  not  a  doting  mother.  She 


Before  Ev  was  married  she  was  one  of  the  best  school 
teachers  in  Sedalia,  Missouri.  So  good  that  many  children 
are  now  named  Evelyn  for  her.  She  has  always  been 
energetic  and  ambitious.  She  once  wanted  Jack  to  be  the 
Governor  of  New  York  State.  During  a  political  meeting 
in  Salt  Lake  City,  when  she  was  the  delegate  from 
Missouri,  she  sat  next  to  Mrs.        (Continued  on  page  108) 


52 


SCREENLAND 


The  Grand  Central  Station  at  42d  Street,  the  first 
place  to  gladden  the  eyes  of  the  stars  when  they  ar- 
rive in  the  big  city  on  the  Twentieth  Century  Limited. 
They  emerge  from  the  arched  gateway  to  the  left. 


Photograph  of  Grand 
('mitral     Station  by 

Etomg  Galloway,  N.  J. 


Dave's  Blue  Room,  the 
best  ham  and  egg  resort  in 
New  York  and  the  rendez- 
vous for  all  those  who  stay 
out  late  at  night  in  the  big 
city.  Here  one  may  see 
glorified  show  girls  and  mil- 
lionaires, tired  business  men, 
stage  celebrities,  playwrights 
and  critics.  The  entire 
Broadway  forces  congregate 
at  Dave's  just  as  the  lights 
in  Edison  Alley  are  dimmed 
by     dawn.      (Left,  above.) 


A  Star's  Day  in  New  York 

9:40  A.M.    Arrive  in  New  York  on  Twentieth 
Century  Limited. 

10:00  A.M.    Register  at  Hotel  Ambassador. 

1 :00  P.  M.    Lunch  at  Sardi's. 

2:45  P.M.    Matinee,    "June    Moon,"    at  the 
Broadhurst. 

5:00  P.  M.    Tea  at  the  Ritz. 

7:30  P.M.    Dinner  at  the  Crillon  or  Caviar. 

8:30  P.M.    Theater,   "The   Green  Pastures," 
at  the  Mansfield. 

11:30  P.  M.    Night  Clubs. 
2:00  to  4:00  A.  M.  Harlem. 
5:00  A.M.    Breakfast  at  Dave's  Blue  Room. 
And  then — home,  and  to  bed! 


Sardi's,  the  checking-in  place 
for  all  who  are  eligible  for 
the  Who's  Who  tablet  in 
the  theatrical  Hall  of  Fame. 
The  walls  are  lined  with 
drawings,  some  cruel,  some 
kind,  some  merely  amusing, 
of  every  interesting  character 
on  Broadway;  and  if  you 
look  about,  you  may  see  most 
of  them  in  the  flesh.  Just 
above  the  window  is  a  framed 
cartoon  of  our  debonair 
Mayor,    Jimmy    J.  Walker. 


for    June  1930 


53 


Manhattan 

M  erry-Go-  Round 

A  Gay  Guide  to  the  Eastern 
Playground  of  the  Stars 

By  Herbert  Cruikshank 


Infidelity,  said  some  old  guy  with  new  ideas,  is  what 
makes  marriage  bearable.    And  that's  the  way  it  is 
with  New  York.    And  Hollywood.    If  it  wasn't  for 
New  York,  Hollywood  would  just  roll  over  and  play 
dead.    They  say  so  themselves. 

Mind  you,  not  that  the  stars  would  care  to  live  in  New- 
York.  Oh,  my  goodness,  decidedly  nawt!  Why,  we 
wouldn't  have  the  town  if  they  gave  it  to  us,  would  we? 
No,  indeedy.    So  there. 

But,  nonetheless,  the  wise  men  and  foolish  virgins  might 
all  well  be  Followers  of  the  Prophet.  For  they're  always 
facing  East,  and  wearing  out  their  knee-pads  making  genu- 
flections. 

You  see,  New  York  is — well — it's  different.  They'll 
tell  you  so.  There  are  places  to  go.  And  things  to  do. 
Then  there's  Jimmy  Walker.  Grover  Whalen,  too.  It's 
worth  the  trip  just  to  say  howdy. 

It's  interesting  right  from  the  beginning.  For  upon 
alighting  from  the  good  old  Twentieth  Century  Limited, 
what  is  the  first  place  to  gladden  the  eye  saddened  by  the 
red  barns  of  Kansas?  Nothing  in  the  world  but  the  far- 
famed  trysting  place  of  Clara  Bow  and  Harry  Richman. 
To  wit,  the  Grand  Central  Station.  Since  it  has  been 
re-christened  'Clara's  Love  Nest,'  folks  have  taken  to  chip- 
ping pieces  off  for  souvenirs.  Soon  it  will  be  all  whittled 
away. 

Having  cut  themselves  a  slice  of  station — or  'deepo,'  as 
the  Hollywood  intelligentsia  call  it — you  pay  off  the  hired 
hands  who  have  been  struggling  with  your  vanity  case, 
and  experience  the  thrill  of  personally  meeting  one  of  the 
towrn's  authentic  bandits.  No  matter  if  your  hotel  is  two 
blocks  (squares  to  you  in  Philadelphia)  away,  you're  going 
to  see  our  city  just  the  same.  So  it  is  only  after  doing 
an  East  Side-West  Side,  while  the  musical  taximeter  ticks 
'Merrily  We  Toll  Along,'  that  you  arrive  either  at  your 
original  destination  or  at  some  nearby  hospital.  The  taxi- 
drivers  favor  the  latter.    But  sometimes  they  miss. 

If  you  stop  at  the  Algonquin,  you'll  be  carried  to  your 
room  with  a  certain  slow  dignity  by  Frank,  the  elevator 
boy,  who  has  been  elevating  the  drama  for  twenty-five 
years  and  has  more  service  stripes  than  Pershing  or  Peggy 
Joyce.  En  route,  Frank'll  tell  you  who's  in  town,  and  in 
a  spirit  of  innocent  fun,  you'll  probably  immediately  dis- 
turb Bert  Lytell,  or  some  one,  to  come  on  up  and  split  an 
infinitive  with  you.  Naturally,  you're  one  who  can  take 
his  infinitives  or  leave  'em  alone.    But  now,  remember, 


you're  in  New  York.  And  it's  compulsory  to  make  boop- 
oop-a-doopee. 

If  you  don't  pass  out  before  luncheon,  you'll  brush  the 
alkali  from  the  face  with  a  whisk-broom,  and  being  thus 
recogni-able,  George,  the  headwaiter,  will  give  you  a  spot 
near  the  celebrities.  Good,  old  celebrities!  What  would 
the  Algonk  be  without  them?  There  they  sit,  and  sit  and 
sit,  year  after  year — like  the  Lion  of  Lucerne.  Or  Phil 
Scott.  (Continued  on  page  125) 


.v.  r. 


Hotel  Ambassador,  on  Millionaire's  Row,  Park  Avenue, 
at  51st  Street,  boasts  the  patronage  of  many  famous 
screen    stars.     On    the    opposite    corner    may    be  seen 
beautiful  St.  Bartholomew  s  church. 


54 


SCREENLAND 


The  young  idol  of  the  Chinese  stage,  Mr. 
Mei  Lan-Fang,  has  been  the  reigning  nov- 
elty of  the  current  New  York  theatrical 
season  in  his  classical  dramas  of  the  Orient. 
He  plans  to  visit  Hollywood  at  the  invita- 
tion of  Douglas  Fairbanks. 


Mei  Lan-Fang 

By 

Thomas  Talbott 


incredible  variations.  His  hands  are  the  most  beautiful 
I  have  ever  seen.  Long,  thin,  white,  tapering.  His  face 
is  indescribably  gentle.  His  whole  personality  exudes  a 
courtliness  such  as  one  imagines  was  possessed  only  by 
the  old  Mandarin  Princes. 

Mr.  Mei,  as  you  probably  know,  plays  only  women's 
roles  in  the  ancient  classical  Chinese  dramas  which  he  is 
introducing  for  the  first  time  in  New  York  City.  Off-stage, 
this  Chinese  actor  appears  virile  and  athletic.  But  on  the 
stage,  his  weaving  ringers,  his  floating  walk,  his  high 
falsetto  voice  invoke  a  picture  so  far  removed  from  our 
realistic  ideas  that  it  is  hard  for  us  of  the  West  to  follow 
him.  Nevertheless,  even  the  most  unimaginative,  insensi- 
tive, prejudiced  person  in  a  Western  audience  instantly 
senses  that  in  Mei  Lan-Fang  one  is  seeing  a  great  artist. 
For  never  once,  while  he  goes  through  the  rigidly  conven- 
tional pantomime,  singing,  recitation  and  dancing  which 
form  a  harmonious  whole  in  these  old  plays,  do  we  have 
any  other  illusion  but  that  Mei  is  in  reality  a  woman- 
graceful  as  water,  haunting  as  music,  beautiful  in  a  high 
and  dreamlike  degree. 


Despite  what  Mr.  Kipling  has  written  about  East 
being  East  and  West  being  West  and  never  the 
twain  meeting,  the  twain  has  met — in  the  person 
of  Mr.  Mei  Lan-Fang. 
The  twain  has  met — and  how!  For  this  greatest  actor 
of  the  Orient,  who  has  recently  played  in  New  York  where 
he  became  the  reigning  novelty  of  the  current  theatrical 
season  will  use  the  modern  mechanism  of  the  west,  the 
talking  picture,  to  introduce  the  ancient  classical  dramas 
of  the  east. 

In  the  drawing  room  of  his  suite  at  the  Hotel  Plaza 
in  New  York,  Mr.  Mei  stood,  holding  a  telegram  in  his 
hand.    Through  an  interpreter,  he  explained: 

"I  am  going  to  California.  I  have  here  a  telegram  from 
Douglas  Fairbanks  inviting  me  to  visit  him.  While  I  am 
in  Hollywood,"  he  continued,  "I  not  only  hope  to  make 
a  real  study  of  cinema  art  but  I  also  want  to  make  some 
talking  pictures — in  technicolor." 

Mr.  Mefs  drawing  room  was  jammed  with  people. 
Newspaper  reporters,  artists  eager  to  sketch  him,  heads 
of  theatrical  organizations  trying  to  book  him  for  a  tour, 
Chinese  students  longing  for  a  word  with  the  great  man, 
interpreters,  secretaries,  friends,  agents,  and  maids  and 
porters  who  were  packing  his  paintings,  his  books,  his 
porcelain,  and  his  many  magnificent  costumes  preparatory 
to  his  moving  to  a  hotel  more  convenient  to  the  theater 
where  he  was  appearing. 

Apart  from  all  this  western  confusion,  the  young  idol 
of  China  stood,  as  calm  as  a  jade  Buddha.  Tall,  slight, 
dressed  in  a  long  stiff  robe  of  exquisite  dark  blue  brocade, 
with  a  darker  pattern  of  roses  in  it,  Mr.  Mei  conversed 
with  each  person  in  turn.  Although  he  is  thirty-six  years 
old,  he  looks  like  a  youth.  There  is  a  quiet  charm,  a 
calm  courtesy  about  him  which  I  have  never  observed  in 
any  other  individual. 

Mei  Lan-Fancfs  off-stage  voice  is  deep,  low,  capable  of 


Mei  Lan-Fang  plays  only  women's  roles  in  the 
Chinese  dramas  which  he  has  introduced  for  the 
first  time  in  New  York. 


for    June  1930 


5? 


and  the  Movies 

China's  Great  Actor,  Now 
in  America,  Plans  to  Make 
Talking  Pictures 


Through  an  interpreter,  Mr.  Mei  continued: 

"In  China,  we  have  no  new  form  of  drama.  From  in' 
numerable  centuries  of  history  which  reach  back  almost  to 
the  legendary  period,  we  draw  our  subject  matter  for  the 
majority  of  plays. 

"Realism  is  shunned.  The  imagination  of  our  Oriental 
audiences  is  developed  to  an  extraordinary  degree.  We 
substitute  our  imagination  for  realistic  scenery.  We  are 
content  with  a  cushion,  a  chair,  a  beautiful  hanging. 

"A  whip  suggests  a  horse,  a  piece  of  blue  cloth  a  wall, 
a  word  an  orchard.  Actors  unbolt  and  push  open  im- 
aginary doors  and  are  separated  by  walls  unseen  except  in 
the  imagination  of  the  audience. 

"There  is,  in  China,  no  indigenous  popular  drama  without 
musical  accompaniment,  although  for  some  time  past  an 
effort  has  been  made  by  the  modern  set  to  produce  spoken 
plays  without  music  after  the  fashion  of  those  in  Europe 
and  America.  The  music  which  accompanies  our  dramas 
is,  for  the  most  part,  what  we  call  p'i-hwing  music,  formed 
by  brass  percussion  instruments. 

"Plays  are  commonly  divided  into  two  great  groups: 


« 

f 


A   calling  card   in  Chinese. 
Translated,  it  reads:  "Mr. 
Mei  Lan-Fang."   Mei  is  his 
family  name. 


Xung  Li  thvtn 
The  Chinese  star  in  his  feminine  impersona- 
tions is  indescribably  graceful  and  charming — 
truly  a  great  artist. 


the  wen,  or  civil  and 
operatic,  and  the  wu, 
or  military  The  former 
are  quiet,  but  the  latter 
are  set  to  loud  brass, 
and  contain  swiftly- 
moving  stage  battles." 

It  is  not  Mr.  Mei's 
idea  to  make  talking 
pictures  with  an  idea 
towards  releasing  them 
for  distribution  in  this 
country.  Western  real- 
ism, he  considers,  is  too 
far  removed  from  the 
ritualistic,  ballet -like 
acting    of    the  East. 

But  he  wishes  to  make  talking  films,  in  technicolor,  so  that 
the  thousands  of  Chinese  in  the  outlying,  isolated  towns 
and  villages  of  his  own  country  may  become  familiar  with 
the  ancient,  classical  dramas  of  their  nation. 

He  realizes  that  it  is  not  possible  nor  practicable  for  any 
actor  in  one  life  time  personally  to  cover  the  one  million 
five  hundred  thousand  square  miles  of  territory  in  China, 
but  he  considers  it  a  strange  and  romantic  fact  that  this 
new,  modern  mechanism  of  the  West,  the  talking  picture, 
should  be  the  vehicle  for  circulating  the  old  traditional 
plays  of  China,  some  of  which  go  back  to  the  third  and 
fourth  century  A.  D. 

In  China,  according  to  Mr.  Mei,  American  talking  pic- 
tures are  inordinately  popular.  The  audiences  love  Clara 
Bow,  John  Gilbert,  Mary  Pickford,  Douglas  Fairbanks, 
Alice  White  and  John  Barrymore.  While  only  the  larger 
cities  are  wired,  as  yet,  for  talking  pictures,  Mr.  Mei  hopes 
that  it  will  not  be  long  until  the  smaller  cities  enjoy  the 
same  privileges  as  we  have  here  in  America. 

The  Chinese  moving  picture  theater  is  more  intime  than 
ours,  I  understand.  In  China,  one  meets  one's  friends  at 
the  theater,  sits  at  little  tables,  and  tea,  drinks  and  food 
are  often  served  during  the  performances.  Admittance 
costs  from  fifty  cents  to  one  dollar;  and  the  larger  cities, 
such  as  Shanghai  and  Peking,  have  large,  commodious 
houses. 

Although  China  has  one  or  two  privately  conducted 
motion  picture  producing  companies,  American  films  are 
preferred  above  all  others.  Chinese  films  are  rarely  suc- 
cessful because  China  has  few  good  technicians,  camera 
men  and  directors.  And  instead  of  trying  to  develop  her 
own  dramas  with  which  she  is  familiar,  she  apes  Holly- 
wood methods  with  which  she  is  extremely  unfamiliar — 
the  result  varying  from  the  pitiable  to  the  ludicrous. 

Mei  Lan-Fang  comes  by  his  dramatic  instincts  naturally 
for  his  grandfather,  Mei  Ch'iao-ling,  was  a  renowned 
impersonator  of  female  roles  from  1851  to  1861.  He  was 
also  the  head  of  a  training  school  for  actors.  Mr.  Mei 
learned  his  dramatic  technique  from  his  uncle,  Yu-tfen 
one  of  the  most  famous  musicians  (Continued  on  page  111) 


56 


SCREENLAND 


^he  STARS' 

Economy  is  all  the  Rage  in  Hollywood, 
where  Thrift  is  the  Slogan 


E'CON'OMY    the 
regulation    of  re- 
sources;   frugality  in 
expenditure;  thrift. — 
Webster. 

Economy!  That's  it.  Holly- 
wood's latest  erase. 

Not  only  have  a  few  stars 
fallen  for  it  heavily,  but  prac- 
tically every  star.  No  longer 
is  it  'quite  the  thing'  to  flash 
a  big  wad  of  bills  around.  No 
longer  is  that  pleasant  little 
pastime  of  trying  to  'out'dress' 
or  'out-spend'  a  rival  celebrity 
popular. 

How  times  have  changed! 
Formerly,  movie  stars1 
weekly  pay  checks  melted 
faster  than  grease  paint  'neath 
the  California  sun.  But  not 
any  more.  Not  since  the  com' 
ing  of  the  money  managers. 

Many  a  prominent  star  re- 
ceiving a  tremendous  salary  is 
today  on  a  twenty-five  or 
fifty -dollars- a -week  spending 
basis,  with  their  whole  income 
under  the  control  of  financial 
experts,  who  must  countersign 
each  and  every  check  before 


Little  Jane  is  one  of  the  reasons  Ann  Harding 
is  so  sensible  about  saving  her  money.    Ann  is 
as  economical  as  she  is  beautiful. 


it  can  be  cashed  or  given 
away. 

There  are  two  interesting 
reasons  for  this  rather  unique 
state  of  affairs.  One  is  that 
stage  players,  who  not  even  in 
their  palmiest  days  earned 
salaries  like  those  paid  for 
talking  pictures,  are  now  in 
the  ascendant  in  Hollywood. 
They  are  level-headed  and 
experienced  enough  to  realise 
that  the  money  won't  always 
come  rolling  in  so  beautifully. 
And  knowing  that,  they  do 
their  very  best  to  hang  on  to 
the  hard-earned  shekels! 

The  second  and  perhaps 
foremost  reason  for  the  film 
city's  sudden  wave  of  thrift 
can  be  laid  squarely  at  the 
door  of  the  late  Wall  Street 
disaster  of  1929.  The  bulls 
and  bears  had  their  battle  and 
the  picture  folks  suffered 
thereby.  Some  of  them  lost 
only  a  little.  Others  lost 
practically  everything  they 
possessed.  One  actor  who  had 
earned  something  like  $180,- 
000  in  two  years,  'dropped' 


Tony  Bushell  and  his 
wife,  Zelma  O'Neal, 
caught  in  the  midst  of 
a  shopping  spree — 
now,  don't  let  it  hap- 
pen again!  (Left.) 


Buddy  Rogers'  father 
is  taking  care  of  his 
son's  business  affairs. 
Buddy  gets  $25  a  week 
for  his  personal  ex- 
penses. Thrift! 


for    June    1  9  3  0  57 

Latest  Graze 


By  Gordon  R.  Silver 


every  penny  he  owned.  A 
$25,000-a-year  actress  lost 
$75,000  and  was  heavily  in 
debt  besides. 

The  Wall  Street  riot  set  the 
film  colony  thinking — thinking 
ways  and  means  of  hanging 
on  to  their  money  in  the 
future.  The  coming  of  the 
economy  experts  solved  the 
question. 

There  are  now  many  such 
finance  firms  scattered  over  the 
film  capital.  One  firm  alone 
has  thirty  motion  picture 
clients  on  its  lists  and  manages 
their  affairs  in  every  par- 
ticular. 

One  of  the  oldest  of  these 
firms  is  the  Equitable  Invest- 
ment Company,  formed  five 
years  ago.  Its  personnel  is 
made  up  of  real  experts — 
college  graduates  with  long 
and  varied  experience  in  law, 
banking,  insurance,  account- 
ing, etc.  The  firm's  general 
manager  is  J.  E.  Rex  Cole, 
who  is  economy  itself.  He 
isn't  mean  like  the  old  Scotch 
gentleman    who    bought  an 


Clive  Brook  telling  his  little  daughter,  Faith,  a 
bed-time   story   about   the   actor   who    saved  his 
money  for  a  rainy  day. 


apple  orchard  and  then  waited 
for  an  earthquake  to  come 
and  shake  down  the  fruit,  but 
he  does  talk  thrift  to  his  clients 
straight  from  the  shoulder. 

Warner  Baxter  was  this 
firm's  very  first  client.  Also, 
he  was  one  of  the  first  actors 
in  Hollywood  to  turn  control 
of  his  own  income  over  to 
someone  else.  Now  the  Cole 
clients  include  Clive  Brook, 
William  Boyd,  Neil  Hamilton, 
Patsy  Ruth  Miller,  Ann  Hard- 
ing, Joan  Bennett,  Mr.  and 
Mrs.  Robert  Armstrong,  Rob- 
ert Ames,  Zelma  O'Neal, 
Tony  Bushell,  and  many 
others. 

At  one  time  Rex  Cole  had 
Buddy  Rogers  but  Bert 
Rogers,  Buddy's  father,  is  now- 
living  in  Hollywood.  He  is 
taking  care  of  Buddy's  busi- 
ness affairs.  He  also  uses  the 
budget  system.  Buddy  gets 
$25.00  a  week  for  his  personal 
expenses. 

Jobyna  Ralston  Arlen  cares 
for  all  the  money  of  Richard 
(Continued  on  page  116) 


Warner  Baxter  going 
over  some  of  his  bills. 
He  was  the  first  star 
to  turn  his  money  over 
to    economy  experts. 


Jobyna  Ralston  is  the 
business  manager  in 
the  Arlen  menage. 
She  invests  the  money 
in  very  safe  bonds  or 
in  building  and  loan. 


58 


SCREENLAND 


Richard 
fflix— 

TURN  any  corner  of  any  street  or  road  in  America 
and  you  will  meet  Richard  Dix.  What  I  mean 
is  that  he  is  the  typical  'say-it- with-a-smile,'  'come- 
on-boys,'  'sure-I'm-great-stuff-girl-friend,'  go-getting, 
he-man  American.  Even  unto  his  looks.  What  Europeans 
notice,  with  amazement  and  sarcasm,  is  that  the  Ameri- 
can man,  in  general,  has  a  smooth,  fairly  wrinkleless  face, 
that  is,  somewhat  a  boy's  face,  innocent,  smiling,  good- 
natured  in  expression,  with  a  touch  of  Indian  in  the  shape, 
and  that  he  is  often  tall  with  an  out-door  air.  Compare 
Hoover's  face  with  that  of  a  French  statesman  and  we 
see  a  babe  next  a  gnarled,  bewhiskered,  wrinkle-grooved 
sophisticate. 

But  the  Europeans  are  often  fooled  by  this  boyish  ap- 
pearance. Behind  the  innocent  mask  there  is  usually  the 
blood  of  the  Indianized  pioneer,  ruthless,  reckless,  hell- 
raising,  out  for  scalps.  The  Europeans  were  stupefied  at 
the  laughing,  reckless  manner  in  which  the  A.  E.  F.  went 
over  the  top.  'Give  me  victory  or  give  me  death'  could 
be  the  American  slogan.  That  is  the  way  our  prize- 
fighters slug,  the  way  our  football  teams  make  their  goals, 
the  way  our  men  build  up  big  industries.  When  it  comes 
to  sociability,  all  smiles  and  'Hail,  hail,  the  gang's  all  here,' 


Americano :  a  big  boy  from  St.,  Paul,  Minnesota, 
but  with  the  difference  that  he  is  an  actor,  and 
a  good  one  at  that. 


Richard  Dix  is  the  go-getting,  he-man  American 
— with  a  difference.    James  Oppenheim  explains 
this  departure  from  type  in  this  story. 


but  when  it  comes  to  fighting,  heap  Indian. 

Which  explains  why  we  could  call  a  man  Dix,  or 
a  Dix,  as  we'd  call  him  a  Yank,  or  an  American. 

Nevertheless,  ladies  and  gentlemen  of  the  movie  audi- 
ence, having  said  all  that,  I'm  going  to  withdraw  some 
of  it.  Richard  Dix  is  first  and  foremost  an  actor  and  has 
been  a  star  longer  than  almost  any  other  movie  actor. 
He  has,  in  fact,  been  an  actor  always,  saving  for  his  child- 
hood and  the  short  time  he  put  in  working  for  a  Minne- 
apolis bank.  And  you  can't  be  an  actor  and  an  average 
man  at  one  and  the  same  time.  Dix  is  built  for  and 
has  played  the  part  of  an  average  American  to  perfection. 

But  average  guys  do  average  things.  They  don't  yearn, 
as  against  their  family's  advice,  for  Kleig  lights  and  camera; 
they  don't  like  make-up;  they  aren't  adored  on  sight,  and 
shadow-sight  at  that,  by  countless  young  women,  here  and 
abroad;  they  don't  give  the  impression  of  being  heroes; 
they  don't  go  in  for  a  study  of  music;  and  they  don't, 
in  this  land  of  the  free,  remain  unmarried.  Richard  Dix 
is  the  most  unmarried  man  in  Hollywood.  A  national  prize 
should  be  awarded  him.  Any  man  who  can  withstand  the 
dominance  of  the  American  women,  especially  in  the  home 
of  that  perpetual  Prize  Beauty  Contest  we  call  Hollywood, 
is  certainly  far  from  average. 

Why  does  this  bronzed  six-footer  with  the  guileless  face 
and  the  deep  musical  masculine  voice  maintain  an  aston- 
ishing popularity  with  the  ladies  and  yet  stay  unwed? 
If  you  ask  Dix  he  will  say  that  he  has  always  wanted 
a  real  home,  a  real  wife. 

My  answer,  or  rather  guess,  would  be  that  he  is  an 
actor,  which  means  that  he  would  rather  play  a  part  than 
be  it;  and  that  he  is  on  to  himself,  which  most  actors  aren't, 
for  we  see  most  of  them  rush  into  the  front  door  of  matri- 
mony only  to  be  ignominiously  ejected  through  the  rear 
door.  Playing  a  husband  and  being  one  are  so  vastly 
different  that  the  comparison  gives  one  the  creeps. 

Nor  am  I  disparaging  actors,  or  any  other  artists,  when 


for    June    19  3  0 


i 


Dix  is   a   well-extraverted  sensation   type,  with 
much    of  feeling   and   thinking   as   assistants  to 
sensation,  says  the  psycho-analyst. 


I  say  this.  This  world  would  be  a  poor  place  indeed  if 
there  weren't  a  breed  of  men  and  women  born  to  play 
parts,  whereby  the  rest  of  us  are  entertained,  sometimes 
inspirited  and  even  instructed.  So  artists  should  have  their 
privileges,  one  of  which  is  to  be  less  married  than  the  rest 
of  us. 

But  to  get  down  to  brass  tacks.  Dix  is  charmingly 
honest  in  his  answers  to  the  questionnaire  sent  him  by 
Screenland.  Who  would  suspect,  for  instance,  that  this 
smiling,  easy-going,  go-getting  typical  American  admits: 

I  am  a  little  self-conscious  at  times. 

I  am  a  little  shy  at  times. 

I  like  being  conspicuous — but  not  at  home. 

I  am  very  jealous — if  in  love! 

It  is  hard  for  me  to  'sell'  myself,  that  is,  ask  for  a 
job,  a  raise,  make  a  deal — except  sometimes. 

Life  isn't  a  game  to  me,  to  be  played  through  like  a  sport. 

It  is  not  easy  for  me  to  order  others  around. 

I  am  only  a  fairly  good  actor  in  public. 

I  am  a  one-woman  man  by  nature. 

In  other  words,  there  is  a  bit  of  the  introvert  (the  type 
that  finds  it  difficult  to  adapt  to  the  world)  in  Dix.  Per- 
haps only  a  small  bit,  but  there  it  is — the  reason,  probably, 
that  he  is  an  actor  instead  of  an  engineer  or  aviator.  For 
most  artists,  finding  it  hard  to  live  parts,  play  them, 
whether  writing  stories,  or  acting.  I  hasten  to  add  that 
Dix  appears  to  be  less  introverted  than  most  of  them. 
But  first  let  us  get  this  line  of  charming  and  unexpected 
candor : 

Question:    Are  you  considered  'deep'  by  others? 
Answer :  Nope. 

And  they  say  that  all  actors  are  pyramids  of  conceit! 
When  it  comes  to  the  extraverted  side,  here  we  are: 
I  completely  forget  myself  when  I  talk,  work  or  play. 
I  am  very  practical. 

I  very  quickly  get  over  a  quarrel,  disappointment  or  loss. 
I'm  a  good  mixer  (very  much) . 


59 

A  Psycho- 
Analytic 
Portrait 

A  Close-Up  of  a  Star 
whom  Oppenheim  Calls 
The  Most  Unmarried 
Man  in  Hollywood!' 

By  James  Oppenheim 

I  have  a  natural  delight  in  doing  things. 
I  like  people,  and  a  lot  of  them. 
I  am  naturally  very  loving  and  affectionate. 
I  am  realistic,  have  common  sense,  am  easy-going  as  a 

rule,  and  am,  by  nature,  a  real  go-getter. 
My  feet  are  solidly  on  the  earth.  (Continued  on  page  113) 


Men  like  him.    Women  are  charmed.    He  appears 
to  enjoy  life,  and  the  rest  of  us  enjoy  him — an 
impression  of  Richard  Dix. 


60 


SCREENLAND 


Right:  Sidney  Blacktner  pointing  out  a 
peculiar  rock  formation  near  Lone  Pine, 
California,  to  Lila  Lee  and  our  Location 
Lady.  The  mountain  range  is  said  to  be  the 
oldest  in  the  world's  history.  The  stone 
house  in  the  back-ground  was  built  over- 
night.   More  movie  magic! 


Below:  Harry  De  More,  Lila  Lee,  Sidney 
Blackmer,  Sol  Polito,  head  cameraman, 
(seated).  Note  the  'grips'  on  roof  guarding 
'mike'  booms.  Harry  De  More,  make-up 
man,  arranging  Lila's  eyelashes  so  they'll 
stay  put  for  the  next  scene. 


0N 
Location 

By  Helen 


Well,  I  am  at  Lone  Pine  again,  and  glad  of 
it!  And  here,  too,  is  my  old  friend  the 
Square  Deal  Garage,  'where  almost  right  is 
all  wrong!'  which  certainly  is  an  ace  line. 
My  last  trip  was  with  the  Ken  Maynard  company  and  this 
time  I  went  up  with  the  "Under  Western  Skies"  company. 
Clarence  Badger  directs  and  the  players  are  Lila  Lee,  Sid' 
ney  Blackmer,  Kenneth  Thompson,  Olive  Tell,  Farrell 
Macdonald,  Tom  Dugan,  David  Newell  and  J.  W.  Johnson. 
Fred  Kohler  and  Raymond  Hatton  are  in  it,  too,  but  they 
had  finished  their  bit  before  I  arrived. 

I  remembered  Lone  Pine  as  being  one  of  the  most  beau- 
tiful spots  in  California.  Nature  is  very  grand  up  there. 
And  on  this  trip  I  discovered  an  interesting  fact  about  it. 
Farrell  Macdonald  who  plays  the  amusing  and  lovable 
Buzzard,  is  a  naturalist  and  amateur  astronomer  as  well 
as  a  splendid  actor.  I  say  amateur  because  he  does  not 
make  astronomy  his  business,  but,  as  a  matter  of  fact,  he 
has  made  an  extensive  study  of  the  subject  and  it  is  his 
main  hobby.  What  interests  him  most  is  the  fact  that 
natural  science  proves  the  claims  made  by  metaphysicians. 
Well,  anyhow,  Farrell  told  me  that  there,  within  the 
radius  of  about  fifty  miles,  is  the  highest  and  the  lowest 
point  in  the  United  States.  Mt.  Whitney,  the  highest, 
with  an  elevation  of  14,502  feet;  and  Death  Valley,  which 
is  far  below  sea  level.  Also,  within  the  same  number  of 
miles,  is  the  Sierra  Nevada  range  of  mountains  of  which 
Mt.  Whitney  is  a  peak,  said  to  be  among  the  newer  form- 
ations of  the  earth;  and  the  Alabamas,  said  to  be  among 
the  oldest — this  according  to  geology.  On  a  rocky  prom- 
ontory of  the  Alabamas  a  little  stone  house  was  built  by 


Clarence  Badger's  staff  and  all  the  pictures  illustrating 
this  article  and  scenes  of  the  country  you  will  see  when 
the  picture  is  released,  were  shot  right  on  one  of  the  oldest 
rock  formations  in  the  world's  history.  Which  will  be 
interesting  to  the  geology  class,  anyway! 

"Where  have  you  been?"  asked  Sidney  Blackmer  when 
he  saw  me  stumbling  over  the  rocks.  "We  expected  you 
last  night.  Farrell  had  his  telescope  up  in  the  lot  back  of 
the  hotel  and  we  were  going  to  show  you  the  stars.  We 
got  Betelgeuse  and  the  moon  and  had  a  lot  of  fun." 

"And  I  was  whacking  along  doing  my  best  to  get  here," 
I  replied.  "I  didn't  land  until  eleven-thirty  and  went 
straight  to  bed.  I  knew  no  one  in  the  troupe  would  be 
awake  at  that  hour  with  a  five-thirty  call.  Where's  Lila?" 

"Probably  asleep,  lazy  little  thing,"  grinned  Sidney. 
"She  has  an  eleven  o'clock  call  this  morning."  Oh,  the 
jealousy  of  these  actors  when  one  can  sleep  later  in  the 
morning  than  the  other!  Sid,  Farrell  Macdonald,  Tom 
Dugan  and  John  Johnson  had  been  on  the  set  since  seven, 
having  motored  from  the  hotel  at  Lone  Pine  ten  or  fifteen 
miles  away. 

"It's  great  to  be  out  today,"  Sid  went  on.  "Yesterday 
it  was  awful.  Cold  and  windy,  so  windy  Lila  could  hardly 
stand  against  it.  I  thought  I'd  have  to  tie  a  rope  around 
her  to  keep  her  on  the  cliff  at  all."  He  pointed  to  an  out- 
door stone  oven.  "We  had  a  fire  in  that  yesterday — the 
young  couple  trying  to  get  along  in  the  wilderness  idea, 
you  know — taking  scenes  with  it  was  punishment.  The 
wind  kept  blowing  the  smoke  in  my  face  and  I  was  sup- 
posed to  play  an  emotional,  a  romantically  emotional  scene 
in  front  of  it.    Technique  at  a  time  like  that  stands  a 


for    June  1930 


61 


"Under 
Western 
Skies" 


Left:  the  mountain  home  of  Clarence 
Badger,  director  of  "Under  Western  Skies," 
only  ten  miles  away  from  the  company  loca- 
tion. Mr.  and  Mrs.  Badger  entertained 
Lila  Lee,  Helen  Ludlatn  and  Sidney  Black- 
mer  during  their  stay  at  Lone  Pine.  All 
the  comforts  of  home  on  this  location. 


Below:  left  to  right,  Clarence  Badger, 
Helen  Ludlam,  Lila  Lee,  Farrell  Macdonald, 
David  Newell,  and  the  'prop'  cactus.  Far- 
rell is  an  amateur  astronomer  and  brought 
his  telescope  along  on  location  to  watch 
the  stars  in  the  sky  for  a  change. 


Ludl 


am 


■  •  *****  * 


man  in  good  stead." 

Sid,  you  know,  is  married  to  the  beautiful  Lenore  Ulric. 
In  this  picture,  both  Lila  Lee  and  Sidney  Blackmer  have 
unusual  characters  to  play.    You'll  hate  Sid  at  first  and 
feel  very  sorry  for  him  afterwards,  and  you'll  weep  for 
Lila  at  first  and  want  to  spank  her  later  in  the  picture. 

The  stone  cottage  Lila  and  Sid  were  supposed  to  live 
in  was  the  cutest  thing  I  almost  ever  saw,  overlooking 
the  snow-capped  mountains,  the  valley,  and  the  purple 
range  beyond  that  hid  Death  Valley  from  our  view. 
In  front  was  a  tiny  stone  porch  with  an  arbor  and  two 
little  cactus  gardens  in  front. 

"It's  amazing  how  rapidly  they  work  here,"  Sidney 
told  me.  "Yesterday,  Lila  and  I  were  building  this 
cabin — we  are  supposed  to  build  it  ourselves  in  the  story. 
We  just  worked  on  the  first  layer  of  rock  and  that's 
the  state  this  cottage  was  in  last  evening  at  five  o'clock." 

"What,  do  you  mean  to  say  all  this  was  built  just 
since  last  evening?" 

"Every  bit  of  it.    Arbor,  roof,  cactus  gardens  and  all. 
They  finished  at  two-thirty  this  morning." 

"Well,  of  all  things!  I'll  bet  the  boys  were  good 
and  cold."  They  had  put  up  several  sun  arcs  which 
turned  night  into  day  'way  up  there  in  those  lonely 
mountains.  The  whole  house  wasn't  of  stone,  though, 
just  the  first  and  top  layers.  The  sides  were  imitation 
— plaster  an  inch  thick  spread  over  a  frame.  But  the 
doors  and  windows  are  practicable,  the  floor  is  solid 
and  there  is  space  for  a  fireplace.  I  was  told  the  house 
should  last  easily  two  years.  Not  a  bad  evening's  work. 
"Hello,  slaves,"  sang  a  merry  voice  and  there  was  Lila 


Lee  in  a  smart  camel's  hair  coat  and  purple  silk  scarf 
covering  her  head  which  she  declared  was  just  a  little  sex 
appeal  between  scenes.  She  looked  as  fresh  and  lovely 
as  the  morning.  Whenever  a  player      (Cont.  on  page  118) 


Director  Clarence  Badger,  with  cap  and  glasses,  Farrell 
Macdonald,  and  the  technical  crew.  Note  the  micro- 
phone suspended  in  mid-air.  The  camera  booths  weigh 
eight  hundred  pounds  and  are  dragged  by  man-power 
over  the  boulders. 


62 


SCREENLAND 


Arthur  Lake  offers  a 

Gift  for  Golf 


All  photographs  of 
Arthur  Lake  by 
Brit  no. 


Tee  off  with  Arthur  Lake 
—Well,  Not  Exactly  With 
Him  But  On  Him  If  You 
Win  The  Golf  Outfit 
Which  He  Offers  For  The 
Best  Letter 


Address  letters  to  Arthur  Lake,  Screen- 
land   Contest    Department,    45  West 
45th  Street,  New  York  City. 


Arthur  Lake  dis- 
playing the  leather 
golfing  outfit  which 
he  will  present  to 
the  writer  of  the 
cleverest  slang 
letter. 


Arthur   in   good   golf  form.    Whang! — 
and  another  golf  ball  bites  the  dust. 


for    June  1930 


63 


ARTHUR  LAKE  becomes  a  babbling  brook  when  he 
starts  talking  about  golf.  He  has  'dat  ol'  davil' 
golf  fever — and  it's  incurable.  Oh  yes,  Arthur  is  a  golf 
enthusiast.  With  the  California  weather  so  tempting 
and  the  greens  so  inviting — can  you  blame  him?  Of 
course  not!  But  here's  where  you  come  in — Arthur 
offers  a  golfing  outfit  exactly  like  his  own  to  the  writer 
of  the  best  slang  letter.  Arthur's  outfit  is  a  man's,  of 
course,  but  if  a  girl  wins  the  contest,  Mr.  Lake  will  be 
glad  to  present  her  with  a  girl's  golf  outfit.  So,  you 
see,  the  contest  is  for  everyone,  male  or  female.  Come 
one,  come  all! 

The  outfit  consists  of  a  leather  golf  bag,  a  set  of  nine 
'irons'  and  a  set  of  three  'woods,'  made  under  the  name 
of  Walter  Hagen,  noted  professional  golfer.  The  entire 
set  is  one  of  which  any  great  player  would  be  proud. 
Woods  and  irons  are  'matched,'  chosen  carefully  for 
weight  and  balance.  It  is  an  exact  duplicate  of  the  out' 
fit  with  which  Arthur  plays. 

Write  the  slangiest  letter  and  also  answer  Arthur's 
question  and  the  gift  is  yours.  By  best  letter  is  meant, 
the  clearest,  cleverest  and  most  sincere. 


Come  on,  sling  the  lingo,  and  you,  too,  can 
throw  a  pose  on  the  golf  links — only  Arthur 
really  plays  a  good  game  of  golf.  Fore! 


WE  all  know  Arthur  Lake  as  a  snappy, 
wise-cracking  collegiate  number.  So, 
true  to  form,  Arthur  suggests  a  Slanguage  con- 
test. And  what  could  be  more  appropriate, 
we  ask  you? 

Here's  the  idea:  Transpose  the  following 
letter  into  slang  and  the  person  sending  in 
the  cleverest  slang  letter,  which  will  include 
your  answer  to  Arthur's  question,  wins  the 
prize.  Profit  by  your  slang. 
Here's  the  letter: 


Dear  Arthur: 

You  are  certainly  a  fortunate  young  man  to 
be  paid  a  salary  to  make  love  to  such  pretty 
girls  as  Olive  Borden  and  Sue  Carol  and  Mary 
Brian. 

Do  you  really  enjoy  your  love  scenes  with 
these  girls?  Or  would  you  prefer  your  romance 
away  from  studio  eyes — out  on  a  lake  in  a 
canoe,  for  instance?  Does  it  annoy  you  to  have 
the  director  order  'Cut'  right  in  the  middle  of 
your  kissing  scenes  with  Miss  Carol  or  M'ss 
Borden? 

They  say  the  early  bird  catches  the  worm. 
Well,  you  have  started  early  enough.  By  the 
time  you  are  ready  to  marry,  you  should  be 
experienced  enough  to  choose  a  very  charming 
wife  and  your  wedded  life  should  be  happy. 

In  future  pictures,  I  should  very  much  like 
to  see  you  in  (What  kind  of  roles  and  photo- 
plays would  YOU  best  like  to  see  Arthur  play?). 

Sincerely, 


Arthur  and  a  close- 
up  of  the  gift.  The 
bag  is  of  dark 
brown  leather,  has 
pockets  to  carry 
balls,  sweater  and 
shoes.  A  strap  in- 
side separates  the 
wooden  clubs  from 
the  iron  clubs. 
Want  it? 


Contest  closes  June  10,  1930. 


64 


SCREENLAND 


JfARD 


In  the  good  (?)   old  days  before  vacuum  cleaners 
and  Lux,  the  little  house-wife  had  a  pretty  hard  time 
of  it.    Billie  poses  as  a  prairie  flower  as  she  looked 
before  Mr.  Edison  began  inventing. 


cc^T"  am  a  working  woman,"  Billie  Dove  announces,  "and 
my  work  at  the  studio  is  the  hardest  kind  of 
labor.  Many  days  I  put  in  from  eight  to  fifteen 
hours;  to  say  nothing  of  the  attention  I  must  give 
to  my  home.  Very  frequently  I  hear  women  say  that 
house- work  is  drudgery.    So  is  acting  in  motion  pictures." 

Well,  now!  Work  in  the  movies  drudgery!  And  all 
this  time  you  and  you  and  you  have  yearned  for  a  job 
in  the  movies.  Let's  think  this  thing  over!  Somehow, 
we  didn't  look  at  it  that  way,  did  we?  We  thought  of 
the  glamour,  and  deep  down  in  our  hearts  we  were  think' 
ing  of  a  possible  'love-life.' 

"Ah,"  we've  sighed  to  ourselves,  when  no  one  was 
looking  or  in  hearing  distance,  "there  must  be  nothing 
like  the  movies  and  that  good  old  'love-life'  we've  heard 
so  much  about." 

Plop!  Get  out  of  the  way  or  you'll  be  knocked  down 
by  that  air  castle! 

Well,  if  Billie  Dove  says  that  starring  in  the  movies 
is  a  life  of  drudgery,  make  your  decision  before  it's  too 
late.  Be  a  drudge  or  a  drone,  just  as  your  little  heart 
desires. 

"There  are  so  many  things  to  take  into  consideration," 
Billie  Dove  explains,  "when  one  considers  the  hard  work 
and  the  physical  qualifications  necessary  for  a  motion  pic 
ture  career.  I  have  made  it  a  set  rule  to  enjoy  an  undis- 
turbed  eight  hours'  sleep  every  night.  I  determined  that 
parties  and  evenings  of  gaiety  and  recreation  should  not 
interfere  with  this  rule.  But  work  at  the  studio  very  often 
does.  I  have  worked  before  the  cameras  and  microphones 
and  under  the  tiring,  blinding  studio  lights  for  fifteen 
hours  at  a  stretch.  When  I  went  home  I  was  dead  tired. 
I  never  wanted  to  go  back  to  work.  Perhaps  you  will 
agree  that  there  is  an  element  of  drudgery  in  this  manu- 
facturing city  of  Hollywood  where  the  exports  are  celluloid 
with  synchronized  records. 


Work 

Don't  Envy 
Movie  Star. 
Working 

By  Brian  Herbert 

"Then  there  is  the  upkeep  of  stardom,"  she  went 
i  on.  "I'll  venture  to  say  you  haven't  much  of  an 
idea  what  I  mean  by  upkeep.  A  motion  picture 
I  I  star,  I  mean  a  feminine  star,  is  aware  just  how  much 
lit  attention  she  must  give  to  this  upkeep  every  time 
mm  she  looks  into  her  mirror.  For  when  wrinkles  come, 
at  Miss  Faire  Lovely  must  go.  And  isn't  it  a  form 
mm      of  drudgery  to  keep  the  complexion  clear,  the  hair 


House  work  may  have  been  drudgery  once  upon  a 
time,  Billie  admits;  but  today  she  says  the  movie 
stars  are  the  hardest  working  women  in  the  world. 
Listen,  home  girls! 


for   June  1930 


61 


That's  All 


Your  Favorite 
She's  Just  a 
Girl,  Too! 


All  portraits  especially  made  for 
Screen  land  by  Elmer  Fryer 


glossy  and  the  flesh  firm? 

"Exercises  are  most  necessary.  Upon  rising  each 
morning,  I  perform  the  usual  daily  dozen  perhaps 
two  dozen  times,  including  the  simple  movement 
of  bending  forward  and  touching  my  fingers  to 
the  toes.  Then  I  take  a  cold  shower.  Then,  off 
to  the  studio  to  work!  Before  retiring,  when  I 
return  from  work,  exhausted,  I  tumble  into  bed 


Today's    little   house-wife   lights   a   candle   only  for 
picturesque    purposes.     Here's    Billie    posing    as  a 
pretty  home  girl  trying  to  find  a  speck  of  dust  in 
her  modern  home. 


The  average   woman's   idea   of   how   a  screen  star 
spends   most   of   her   time — just  dreaming   out  her 
roles!    Billie   Dove's   day-dreaming   is   done  under 
Kleigs  and  microphones,  and  it's  hard  work. 


and  perform  what  I  call  'a  bicycle  ride."  This  is  done 
by  lying  on  the  back  and  elevating  the  legs  and  hips,  and 
then  following  a  rotary  course  with  the  legs,  keeping  in 
mind  the  illusion  that  one  is  pedaling  a  bicycle.  This 
develops  the  leg  muscles  and  keeps  the  hips  slender  and 
boyish." 

When  that  is  done,  Billie  confided,  one  is  usually  tired 
enough  to  drop  off  into  a  sound  sleep,  unless  there  are 
lines  to  memorize  for  the  next  day's  work.  Another  item 
which  comes  under  the  category  of  work  for  the  film  star 
is  fan  mail.  Answering  the  letters  you  write  in  to  ask 
what  size  shoe  your  favorite  star  wears.  You  know  by 
now  that  all  of  the  stars  do  not  answer  these  personally. 
Sometimes  you  received  the  information  in  the  form  of 
an  autographed  photograph  with  sweet  but  not  compro- 
mising sentences.    Sure,  you've  received  those  things! 

But  Billie  Dove  answers  her  fan  letters  all  by  herself 
on  her  own  typewriter.  She  believes  in  the  personal  touch. 
And  the  statistical  fellow  who  counts  the  mail  gives  us 
his  word  on  a  celluloid  oath  that  Billie  receives  500,000 
fan  letters  a  year.  But  she  answers  them  herself. 
Drudgery?  Yes,  but  Billie  says  she  gets  a  kick  out  of 
it.  And  in  her  spare  time  she  paints,  and  she  is  somewhat 
of  a  musician,  too,  favoring  a  grand  piano. 

The  house-work  of  a  motion  picture  star  is  no  small 
consideration,  and  Billie  Dove  takes  this  very  seriously. 
She  designed  the  greater  part  and  the  general  idea  for  her 
beautiful  home  and  she  contributed  ideas  for  the  modern- 
istic furnishings.  Her  servants  declare  that  she  is  a  stickler 
for  cleanliness,  and  if  there  is  a  spot  of  dust  anywhere, 
the  lady  of  the  house  will  find  it.  She  supervises  their 
work  and  sees  that  it  is  done  properly. 

She  also  supervises  the  meals  and  has  been  known  per- 
sonally to  order  the  groceries.  She  is  particular  about  the 
food  which  is  served  on  her  table  because  it  is  her  founda- 
tion of  health.     Her  big  meal       (Continued  on  page  126) 


Photographed  by  liert  Lynch 


The  xJMost  ^Beautiful  Still  of  the  JMonth 

From  "THE  SEA  BAT 

The  scene  is  the  harbor  of  Mazatlan,  Mexico,  a 
small  seaport  on  the  Gulf  ol  California  about 
1100  miles  from  Los  Angeles. 


Such  A  Circus! 


"And    the   elephant   sneezed  and 
jell  on  his  knees" — but  he  didn't, 
luckily. 

Below:  a  movie  star  meets  a 
zebra.  He'd  change  his  stripes 
for  Bernice. 


Above:  this  seal  is  a  star  in 
his  own  line  and  he  is 
anxious  to  impress  the  little 
star  from  the  film  studios. 


A  little  girl  from  musical 
comedy  came  to  Hollywood. 
She  was  quiet  and  a  hard 
worker,  and  never  bragged 
that  she  was  the  protegee  of 
the  famous  opera  singer, 
Madame  Jeritsa.  who  had 
predicted  a  brilliant  future 
for  her.  Then  the  little  girl 
appeared  in  her  first  musical 
movie,  "No,  No,  Nanette," 
and  made  good.  Now  Ber' 
nice  Claire  is  one  of  the 
bright  and  shining  lights  of 
Microphoneland,  with  new 
friends  and  fan  letters  and 
everything.  You'll  see  her 
soon  in  "Spring  is  Here." 
And  how  do  you  like  her 
own  private  circus? 


Gifls  of  .  the  circus  have  their 
domestic    moments,    as  Miss 
Claire  demonstrates  (left). 


Below:  a  big  day  in  the  life 
of  the  principal  zebra  in  Mr. 
Al  G.  Barnes'  circus. 


Although  Bernice  Claire  has  never  been  a 
member  of  a  circus  troupe,  she  has  the 
humor  and  courage  of  all  true  troupers. 
W hen  she  visited  the  winter  quarters  of  the 
Al  G.  Barnes  circus  she  cast  off  all  her 
stellar  dignity  and  remembered  only  the' 
thrill  of  being  'back-stage'  at  the  show  that 
t;irls  and  hoys  prefer  to  all  others. 


Screenland's  spring  circus  has  an  all-star  cast.  Bare-back 
rider,  Bernice  Claire.  Chief  clown,  Miss  Bunny  Claire. 
Head  elephant  trainer,  Bernice  Claire.  Lady  in  leopards- 
den,  Miss  B.  Claire.  May  we  add  that  Miss  Bernice  Claire 
is  one  star  who  never  uses  a  double? 

Right:  sitting  on  top  of  the  world. 
Bernice    Claire    is    supported  by 
Jumbo,  the  prize  elephant. 

Below:  a  Shetland  pony  is  petted 
by  a  screen-star  and  doesn't  mind 
it  a  bit. 


Above:  probably  the  highest- 
priced  bare-back  rider  in  the 
world.     Bernice,    get  right 
down,  this  instant! 


Below:  Bernice  temporarily 
exchanges  her  star's  dress- 
ing-room at  the  studio  jor  a 
circus  wagon. 


Wheel  Bernice  Claire  soon  learns 
the  ropes  of  a  circus  and  says  there's 
nothing  like  the  smell  of  the  sawdust 
and  the  sight  of  the  circus  tents  and 
the  wagons  to  bring  on  a  good  old 
'•case  of  spring  whoopee. 


MARILYN  MILLER  is  in  Hollywood 
again,  working  in  her  second  musical 
movie,  an  original  story  with  music  by  Jerome 
Kern,  who  composed  the  score  for  "Sally." 


LUIS  Antonio  Damasco  de  Alonzo  ot 
'  Chihuahua.  Mexico,  was  slated  to  become 
a  bull  hunter.  But  fate  decreed  that  he  should 
turn  out  to  be  Gilbert  Roland  ot  Hollywood 


Hurrell 


DOESN'T  she  look  like  Gloria  Swanson 
here?  Lottice  Howell's  voice  opened  the 
studio  gates  for  her.  You'll  see  and  hear  her 
soon  with  Ramon  Novarro  "In  Old  Madrid." 


ANEW  young  man  to  write  letters  to:  John 
Garrick.  An  Englishman,  he  has  won  a 
definite  place  in  Hollywood  with  his  pleasant 
voice  and  manners  and — yes,  that  smile. 


All  photographs  of 
Miss  Dorothy  Mackaill 
taken  exclusively  for 
SCRHENLAND  MAGAZINE 
by  Elmer  Fryer. 


When  some  girls  go  drama- 
tic they  get  high-hat.  Not 
Dorothy.    She  still  likes  to 
step. 


When  plumper  young 
ladies  ask  Miss  Mac- 
kaill how  she  stays  so 
slim  and  svelte  she  is 
apt  to  answer:  "Danc- 
ing does  it." 


No  Hollywood  diet 
for  Dorothy.  She  eats 
what  she  wants  and 
dances  when  she 
pleases. 


You  have  only  to  glance  around  these  two 
pages  to  understand  why  Dorothy  Mackaill 
was  an  outstanding  attraction  of  the  Zieg' 
feld  Follies.  That  was  before  Art  called 
and  Dorothy  answered  by  going  into  pic 
tures.  Now  she  is  an  important  actress, 
but  she  hasn't  forgotten  how  to  dance. 


Of  all  the  new  spring  hats  we  have 
seen  somehow  we  like  Miss  Mackaill' s 
the  best. 


DOROTHY 


Dorothy  is  wearing 
the  very  latest  collar- 
and-cuff  set  for  danc- 
ing girls.  The  cuffs 
are  elaborately  em- 
broidered in  rhine- 
stones  and  the  collar 
— why,  where's  the 
collar? 


THE  miracle  maid  of  movieland  keeps 
marching  on!  Directors  cry  for  Betty  Comp- 
son's  services,  so  she  hurries  from  one  studio 
to  another — in  her  specially-built  town  car. 


AN  actor  unique  in  screen  history:  Lewis 
Stone,  who  now  plays  father  roles  as  easily 
and  gracefully  as  he  once  played  impetuous 
lovers — and  he's  still  very,  very  popular. 


YES  sir,  she's  still  our  Bebc.  This  glamour- 
ous Daniels  girl  whose  dusky  beautv  has 
been  supplemented  by  a  stirring  voice  has  a 
new  leading  man — Mr.  Ben  Lyon 


DOROTHY  REVIER,  blonde,  serene,  and 
beautiful,  can  play  sirens  or  sweet  young 
things  with  equally  agreeable  results.   She  is 
the  gem  of  Columbia's  collection. 


What  the  Gentee 

And  She  Did,  Back 


A  snappy  straw  for  afternoon  calls,  with 
a  cute  little  conservatory  on  top,  to  be 
worn  with  a  handsome  and  very  long  veil. 


And  if  skirts  keep  getting  longer  and 
wider,  and  veils  remain  in  vogue,  and 
ruffles  and  bows  and  furbelows  stay 
in  style,  the  well'dressed  young  lady 
of  1932  may  find  herself  wearing 
clothes  not  so  very  different  from 
these  worn  by  Marion  Davies  in  her 
new  and  most  amusing  film,  "The 
Gay  Nineties." 


Left:  a  little  jacket  suit  with 
'nipped-in  waistline — where  have 
you  heard  that  before?  Hat,  veil, 
and  scarf  show  polka-dot  motif, 
also  used  in  the  gay  1930's. 


Below:  for  the  races,  the  trotteur 
of  small  checks,  with  fur  hat  and 
matching   muff,  is   too  smart  for 
words. 


Young  Girl  May  Wear 

in  the  Gay  Nineties! 


This  is  the  time  of  year  when  fashion 
forecasts  are  being  made.  WelL 
ScREENLANDS  fashion  department 
wants  to  make  one  right  now.  If 
something  isn't  done  about  it;  next 
season's  styles  will  resemble  those  pic 
tured  here  so  closely  that  it  won't  even 
be  funny.  Are  they  comfortable? 
Just  ask  Marion! 


Right:  skirts  are  longer  (and  fun- 
nier) '  with  the  fashionable .  flare. 
Plaid'  is  smart  for  jackets.  Muffs 
are   the   vogue.    1890— and  1930! 


Below:    the    natural    waistline  is 
'in'  again.    Skirts  may  he  in  tiers 
and   flounces — and  frequently  are. 
Note  sleeve  bows. 


Fashion  note:  the  train  is  an  important  develop- 
ment for  formal  wear.  The  natural  waistline  is 
emphasized.  Ruffles  are  simply  the  last  word. 
Large  feather  fans  are  carried  in  our  best  society. 
And  if  gentlemen  trip  on  ladies'  trains  while  going 
in  to  supper  it  only  proves  that  the  brutes  are 
unworthy .  of  our  Gibson  Girls.    So  there! 


Qita  U\u< 

THL  once-despised  screen  has  offered  Ruth 
Chatterton  a  wider  scope  for  her  talents 
than  the  stage  ever  did     She  has  become  a 
superbly  versatile  actress 


for   June    19  30 


83 


The  Qui  .  .  . 

with  the  turned -up  nose 

An  Impression  of  the  Real  Ruth  Chatterton 

By  John  Godfrey 


A LITTLE  girl  with  a  turned-up  nose  motioned  for 
the  attention  of  her  four  schoolmates.  She 
leaned  over  the  table  of  the  leading  confectionery 
"  store  in  Washington,  D.  C,  where  she  and  her 
chums  were  indulging  in  ice  cream  sodas.  Her  eyes  flashed 
with  ambition.  In  her  excitement,  she  drew  marks  in  the 
table  cloth  with  her  spoon. 

"Someday,  I  will  be  a  great 
actress.  I  decided  it  right  now. 
Watch  and  see!" 

The  girls  stopped  eating  their 
ice  cream  for  a  moment.  They 
giggled  in  the  sudden  excitement 
but  continued  without  giving  the 
statement  much  thought.  It  really 
wasn't  so  different  for  a  young 
girl  to  be  stage-struck.  Each  one 
of  the  four  probably  had  experi- 
enced the  same  desire  at  some  time. 

The  difference  was  that  these 
girls,  from  Mrs.  Hazen's  private 
school  at  Pelham  Manor,  who  were 
spending  their  Christmas  holidays 
in  Washington,  weren't  aware  of 
the  definite  personality  possessed 


is    always    ignited  by 


mm 


by  this  fourteen-year-old  Ruth  Chatterton  girl.  As  the 
four  talked  about  the  marvelous  show  they  had  just  seen 
and  the  handsome  leading  man,  the  fifth  girl  balanced 
her  new  ambition  in  her  mind.  Later,  one  of  her  school- 
mates smiled  to  herself  as  they  walked  along  the  street. 
She  turned  to  Ruth: 

"I  dare  you  to  go  on  the  stage!" 

Youth 
dares. 

"Come  on!"  challenged  Ruth. 
The  girls  quickened  their  steps 
and  followed  to  the  nearest  theater. 
They  waited  outside  in  the  alley 
and  Ruth  went  in.  She  came  out 
a  chorus  girl.  And  she  never  re- 
turned to  school,  despite  strenuous 
parental  objections. 

Today,  not  at  all  oddly,  the 
wild  statement  of  this  young  girl 
with  the  turned-up  nose  has  come 
true. 

Ruth  Chatterton  is  now  one  of 
the  reigning  royalty  of  the  talk- 
ing screen.  Upon  the  foundation 
of  hard       (Continued  on  page  122) 


She    hates    the    obvious.  She 
values  honesty  above  all  things 
— a  many-sided  star. 


Left:  versatility !  Ruth  can  por- 
tray any  role,  from  Barrie's 
"Mary  Rose"  to  "Madame  X." 


Right:  Ruth  Chatterton  in  her 
latest    characterization,    as  the 
heroine  of  "Sarah  and  Son." 


SCREENLAND 


eviews 


n  McCormack,  with  Maureen  O'Sullivan  and 
John  Garrick  in  "Song  o'  My  Heart." 


es  'Buddy'  Rogers  and  Jean  Arthur  in  "Young 
Eagles,"   a  drama  of  war  in   the  air. 


Song  o'  My  Heart 

THE  most  endearing  of  all  the  new  films  is  John  McCor- 
mack's  sight  and  sound  debut.  These  days  the  producers 
are  building  stories  around  voices  as  they  once  built 
around  beautiful  faces  and  figures.  In  this  case  they 
chose  a  world-famous  voice  and  assigned  Frank  Borzage  to 
direct.  Happy  selections!  What  with  the  great  voice,  and  the 
simplicity  of  the  story,  and  the  delicate  direction  of  Mr. 
Borzage,  "Song  o'  My  Heart"  becomes  the  most  charming  pic- 
ture on  Broadway  today.  It's  touching,  tender,  human.  Its 
star  is  not  a  pompous  gilded  tenor  but  a  charming,  modest, 
genial  man  with  a  grin  to  match  his  girth  and  a  splendid 
twinkling  sense  of  humor  that  encircles  the  plot  and  the  cast 
and  the  audience.  To  hear  McCormack  sing  Little  Boy  Blue 
with  its  imaginative  Borzage  setting  is  a  treat.  You'll  like  Mr. 
McCormack's  Ireland  better  than  previous  Emerald  Isles  you've 
seen  on  the  screen  with  their  bejabbers  and  wurra-wurras — 
and  be  glad  to  know  that  John's  Ireland  is  the  real  thing. 
Tommy  Clifford  and  J.  M.  Kerrigan  are  grand. 


Young  Eagles 


Case  of  Sergeant  Grischa"  has  Chester  Morris 
and  Betty  Compson  in  the  leads. 


A  NOTHER  "Wings"  if  the  enthusiasm  of  the  audience  I 
/ \  sat  with  is  any  indication.  "Young  Eagles"  is,  of 
/  %  course,  another  drama  of  war  in  the  clouds,  and  not 
as  exciting  as  its  predecessor.  But  it  has  Buddy 
Rogers,  if  not  Clara  Bow;  and  Buddy's  presence  in  a  picture 
these  days  is  almost  enough  for  some  people.  He's  a  demon 
flier  for  Uncle  Sam  who  pits  his  daring  and  skill  against  a 
dreaded  German  known  as  'the  Grey  Eagle.'  There  is  the 
best  air  fighting  I've  ever  seen  on  the  screen — amazing  shots 
of  the  great  birds  swooping  through  the  clouds,  and  exciting 
'crack-ups'  that  will  keep  you  on  tenter-hooks,  whatever  they 
are.  Plot?  Oh,  yes,  aplenty — Jean  Arthur  as  a  busy  little 
spy  and  Paul  Lukas  as  the  enemy  menace,  to  say  nothing  of 
Stuart  Erwin  as  'comedy  relief.'  Mr.  Erwin  is  almost  as 
'inimitable'  as  Jack  Oakie.  In  fact,  the  young  star,  Mr.  Rogers, 
has  competition  in  this  picture,  for  Mr.  Lukas  is  one  of  those 
villains  you  love  to  hate.  But  Buddy's  ingenuous  charm  works 
as  usual.    He  is  still  the  star. 


ifjjR  The  Case  of  Sergeant  Grischa 

IF  you  have  had  enough  for  the  moment  of  musical  comedy 
motion  pictures  try  this,  a  very  sombre  drama  directed 
by  Herbert  Brenon  from  the  novel  by  Arnold  Zweig. 
You  really  should  see  it  because  it  is  the  kind  of  picture 
that  will  be  talked  about  over  dinner  tables  and  discussed  here 
and  there,  pro  and  con.  Some  people  will  like  it.  Others  will 
be  bored;  while  still  others,  I'm  afraid,  will  be  amused.  But 
let's  see  what  it's  all  about.  Grischa  is  a  Russian  lad  who 
escapes  from  a  German  prison  camp  because  he  'wants  to  go 
home.'  If  you  can  sympathize  with  him  from  the  start,  you 
may  be  in  sympathy  with  the  picture.  Grischa  encounters  a 
farm  girl  who  helps  him  exchange  identity  with  a  dead  soldier. 
But  he  is  recaptured  and  faces  a  firing  squad.  Not  pretty,  you 
see;  not  heroic.  Brenon's  direction  touches  the  high  spots 
occasionally.  Chester  Morris  works  hard  as  Grischa,  as  does 
Betty  Compson  as  Babka;  but  there  is  a  suggestion  of  Broadway 
artifice  about  them.  Jean  Hersholt's  performance  is  the  most 
notable.    Gustav  von  Seyffertitz  is  good. 


for    June    19  30 


Best  Pictures 


Screenland's  Critic  Selects 
The  Six  Most  Important 
Films  of  the  Month 


Montana  Moon 


WESTERNS  are  coming  back!  You'll  believe  it  when 
you  see  Joan  Crawford  in  "Montana  Moon."  Joan 
can  revive  the  Western  vogue  if  anyone  can.  This 
glamourous  girl  is  Once  again  cast  as  the  most 
flaming  of  all  our  dancing  modern  maidens;  but  this  time, 
against  a  background  of  fresh  air  and  fresh  cowboys.  It's  a 
pretty  familiar  formula:  dashing  rich  girl  playing  the  game  of 
hearts  until  a  Real  Man  comes  along,  and  then — redemption, 
and  love  and  kisses.  In  "Montana  Moon"  Joan  is,  as  always,  the 
life  of  her  party;  but  she  wanders  away  from  'the  gang'  into 
the  wide  open  spaces  where  the  great  outdoors  and  all  growing 
things,  especially  John  Mack  Brown,  get  in  their  work.  The 
girl  ups  and  marries  the  cowboy  and  leads  him  home.  Com- 
plications, of  course,  when  the  little  bride  gets  homesick  for 
whoopee.  Very  'movie,'  but  ingratiating.  Joan's  voice  is  im- 
proving all  the  time;  she  couldn't  very  well  be  easier  on  the 
eyes.    Mr.  John  Brown  is  nice.    Cliff  Edwards  is  very  funny. 


The  Girl  Said  No 


THIS  picture  will  probably  bring  on  a  case  of  Haines 
fever  among  William's  devoted  admirers.  Because  in 
it  the  star  plays  another  one  of  his  cut-up  roles  that 
make  the  critics  gnash  their  teeth  and  the  audience 
chortle.  "The  Girl  Said  No"  is  a  Haines  frolic  in  which  big 
Bill  runs  through  his  entire  bag  of  tricks  practically  without 
stopping.  First,  he's  a  smart-aleck  boy  fresh  from  college; 
next,  he's  a  smart-aleck  lover  pursuing  a  girl  engaged  to  another; 
then  he's  a  forlorn  and  repentant  lad  resolved  to  mend  his 
wild  ways  and  make  the  girl  respect  him;  finally,  he  is  smart- 
aleck  again,  having  put  over  the  big  business  deal  and  kid- 
napped the  girl  and,  as  usual,  got  his  own  way.  There  are 
some  genuinely  funny  moments,  notably  those  scenes  in  which 
Bill  barges  in  on  Marie  Dressier  to  sell  her  some  bonds  and 
succeeds  in  a  big  way.  Bill's  love  scenes  with  Leila  Hyams 
will  make  you  understand  why  Peggy  Hopkins  Joyce  once  chose 
him  as  the  great  screen  lover.  Go  ahead  and  laugh;  Peggy 
and  I  stick  to  our  story. 


Show  Girl  in  Hollywood 

WELL,  boys  and  girls,  here's  that  trip  to  Hollywood 
I've  been  promising  you.  Watch  out,  now — don't 
bump  your  heads  when  you  step  into  the  de  luxe 
sight-seeing  bus.  All  aboard!  You're  going  with 
Auntie  Alice  White,  who's  the  "Show  Girl"  of  Hollywood, 
with  ballyhoo  by  J.  P.  McEvoy.  What  a  liberal  education 
this  picture  is  for  the  film  fans,  to  be  sure.  An  'expose'  of 
filmdom;  a  glimpse  into  the  screen  studios;  a  ride  down  Holly- 
wood Boulevard;  lunch  at  Montmartre — see  the  stars  as  you 
sandwich;  and  orchestra  seats  at  a  Hollywood  premiere  with 
stars  all  around  you — they  get  under  your  feet  and  in  your  hair. 
The  movies  poke  pleasant  fun  at  themselves  in  this  picture. 
In  the  merry-go-round  of  hilarity  Alice  White  is  at  her  best 
as  Dixie  Dugan,  the  Broadway  show  girl  who  crashes  filmtown 
and  makes  good  after  humorous  and  dramatic  complications. 
Alice  sings,  she  dances,  she  pouts.  Jack  Mulhall,  Ford  Sterling, 
John  Miljan,  Blanche  Sweet  and  scores  of  comics  and  cuties 
pitch  in  and  make  this  a  fun  fest  for  you  to  enjoy. 


John  Mack  Brown  and  Joan  Crawford  in  the 
musical   'western,'   "Montana  Moon." 


'The  Girl  Said  No"  is  Bill  Haines'  latest  talker 
with  Leila  Hyams  as  the  girl. 


John  Miljan,  Alice  White,  the  star,  and  Jack  Mulhall 
in  "Show  Girl  in  Hollywood." 


86 


SCREENLAND 


Critical  Comment 


Only  the  Brave 

A PICTURE  that  will  leave  a  pleasant  glow  when  the 
lights  go  up,  and  will  undoubtedly  double  the  fan 
mail  of  Gary  Cooper  and  Mary  Brian.  "Only  the 
Brave"  isn't  a  special  but  it  has  a  certain  quiet  satirical 
charm  that  will  remain  in  the  memory  long  after  the  impression 
of  other  more  'important'  pictures  will  have  faded.  Once  again 
— it  isn't  what  they  do,  but  how  they  do  it.  Frank  Tuttle  has 
taken  this  familiar  old  story  of  the  northern  spy  who  falls  in 
love  with  the  beautiful  southern  belle  and  has  made  it  seem 
new  and  refreshing.  Of  course,  Gary  and  Mary,  the  juvenile 
Gilbert-Garbo  of  the  talkers,  may  be  trusted  to  supply  love 
scenes  of  sincerity  and  appeal.  Generals  Grant  and  Lee  are 
among  the  members  of  the  cast;  and  the  historic  scene  at 
Appomatox  aids  the  illusion.  Gary  in  his  uniform,  Mary  in 
her  crinolines  make  just  about  the  prettiest  picture  to  be  seen 
anywhere  on  the  speaking  screen  these  days. 


Match  Play 

THIS  is  a  two-reel  comedy  that  deserves  feature  rating 
and  attention.  It's  a  picture  that  will  please  those  few 
die-hards  who  only  go  to  the  movies  when  they  are 
dragged  by  other  members  of  the  family.  If  you  have 
one  of  those  crochety  uncles  or  hard-to-please  papas,  try  to 
inveigle  him  to  the  theater  where  "Match  Play"  is  running. 
He'll  be  won  over  to  our  little  new  art  of  the  sound  screen, 
see  if  he  isn't.  There  is  no  love  triangle  to  bother  him;  no 
back-stage  blues,  no  theme  song.  Just  good,  clean  fun  on  the 
golf  course,  escorted  by  none  other  than  Walter  Hagen  and 
Leo  Diegel,  mind  you.  Andy  Clyde,  the  pivot  of  the  piece, 
provides  laughs  in  the  best  Sennett  tradition;  while  Hagen  and 
Diegel  put  on  a  show  that  will  make  you  sit  up  and  take  notice 
whether  you're  a  golf  addict  or  not.  Smooth  and  easy  dialogue 
in  which  the  famous  'pro's'  participate,  and  Marjorie  Beebe  for 
heart  interest.     Swell!     Please  don't  miss  it. 


Lord  Byron  of  Broadway 

I'LL  break  it  to  you  gently.  Yes,  it's  a  story  about  a  song- 
writer, and  there  are  at  least  four  'popular  songs'  sung 
during  the  production.  But — please  wait  a  minute — "Lord 
Byron  of  Broadway"  is  just  a  little  different.  In  fact, 
it's  a  whole  lot  different.  Yes,  it  is.  And  you'd  better  see  it, 
because  it  is  really  a  nice  picture.  For  one  thing,  you'll  meet 
some  new  people.  Charles  Kaley,  Marion  Schilling  and  Ethelind 
Terry  are  newcomers  you'll  like.  As  if  they  weren't  enough, 
there  are  Cliff  Edwards,  rapidly  becoming  one  of  my  favorite 
comedians,  and  Benny  Rubin,  whom  I'm  gradually  getting  used 
to.  Kaley  plays  a  song-writer  to  whom  'love'  is  simply  an 
excuse  for  a  new  song — until  one  little  girl  convinces  him  that 
'love'  is  real  and  'love'  is  earnest.  I  don't  know  what  you'll 
think  of  Charles  Kaley.  He  is  interesting  in  a  part  that  might 
easily  have  been  poison  to  the  girl  fans.  Yes,  it  looks  as 
though  Kaley  is  with  us  to  stay. 


Mamba 

cc^^^HE  sun  shines  east,  the  sun  shines  west,  Mammy — " 
No,  "Mamba."  I'll  tell  you  all  about  "Mammy"  next 
I  month.  This  is  just  so  you  won't  be  confused. 
"Mamba"  is  nothing  like  an  Al  Jolson  picture.  It's  oh, 
so  grim  and  gruesome — the  good  old  story  of  beauty  and  the 
beast,  or  bought  and  paid  for.  Eleanor  Boardman  plays  'me 
proud  beauty,'  sold  to  Jean  Hersholt  for  a  goodly  sum  and 
brought  to  Africa  for  a  reign  of  terror  from  her  despised 
husband.  Fortunately,  Ralph  Forbes  is  handy,  to  defend  the 
heroine  ar.d  to  look  very  personable  in  his  German  officer's 
uniform,  monocle  and  all.  For  a  stirring  climax  there's  a 
beleagured  stockade  with  the  English  coming  to  the  rescue,  to 
make  it  more  international.  Hersholt  is  sufficiently  hair-raising 
as  the  mean  Mamba  to  warrant  Eleanor's  panic  when  he  ap- 
proaches. Technicolor  is  most  becoming  to  Miss  Boardman — 
yes,  "Mamba"  is  all-color,  and  I  don't  mean  just  the  Zulus. 


for    June  1930 

on 


87 


Current  Films 


Sarah  and  Son 

NOT  since  "Stella  Dallas"  has  there  been  such  a  tear- 
inducer  in  the  cause  of  mother  love  as  "Sarah  and 
Son."  Stella  and  Sarah  represent  the  old  and  the  new 
styles  of  screen  mother.  You  remember  how  Stella 
Dallas  stood  outside  in  the  rain  and  suffered?  Well,  no  such 
unhappy  ending  for  Sarah.  She's  a  modern  woman.  She  has 
her  son  taken  from  her  but  she  never  rests  until  she  finds 
him.  And  when  she  finds  him  she  runs  off  with  him,  and  no 
foster  mother  or  anything  can  part  them  again.  Ruth  Chat- 
terton  is  a  poignant  Sarah.  She  has  a  most  difficult  assignment 
in  this  role,  which  requires  a  German  accent  throughout — 
handled  skilfully  by  the  star.  There  are  only  a  few  scenes 
between  the  mother  and  her  new-found  son,  so  that  these  few 
are  all  the  more  telling  and  touching.  Philippe  De  Lacey,  the 
most  charming  boy  on  the  screen,  is  still  unspoiled.  Dorothy 
Arzner's  direction — I  hate  to  admit  it — is  stilted  in  spots. 


Such  Men  Are  Dangerous 

A FANTASTIC  Elinor  Glyn  tale  turns  into  a  good,  brisk 
motion  picture.  It's  never  believable  but  always  en- 
tertaining, so  don't  let's  quibble.  Of  course  it  couldn't 
happen,  but  what  do  we  care?  At  least,  there's  action, 
and  plenty  of  it;  and  in  the  first  reel  you  don't  know  what  the 
last  reel  is  going  to  bring.  And  that's  an  advantage,  too.  It 
relates  the  adventures  of  one  Ludwig  Kranz,  fabulously  rich 
and  ugly  European,  who  drops  out  of  sight  and  his  airplane 
after  his  beautiful  blonde  wife  leaves  him  on  their  wedding 
night.  When  he  turns  up  later  as  the  handsome  Pierre  to  woo 
and  win  his  wife  all  over  again,  you  still  don't  know  just  what 
Mme.  Glyn  has  up  her  sleeve  by  way  of  a  denouement. 
Warner  Baxter  plays  Ludwig-Pierre  in  picturesque  style.  Cath- 
erine Dale  Owen  is  dignified  and  stately — and  beautiful.  You'll 
like  Hedda  Hopper  as  the  heroine's  gay  and  giddy  sister.  Not 
an  important  picture — just  amusing. 


Be  Yourself 

HERE'S  a  really  funny  picture.  Fannie  Brice  may  not 
be  the  funniest  woman  on  the  screen  but  she  comes 
perilously  close  to  copping  that  title  in  her  second 
sound  cinema.  It's  immeasurably  better  than  her  first 
film  because  it  is  not  just  an  elongated  short  but  a  well-worked- 
out  vehicle  in  which  the  star  is  supported  by  one  of  those  casts 
you  encounter  only  once  in  a  blue  moon  of  movie  shopping. 
Robert  Armstrong  plays  the  pugilistic  boy  friend  of  big-hearted 
Fannie,  a  cabaret  singer.  Harry  Green  and  Gertrude  Astor  are 
also  present,  and  at  their  best.  Fannie  puts  her  'pug'  over  only 
to  have  him  throw  her  over  for  the  blonde  gold-digger  played 
by  Miss  Astor.  But  never  mind — Fannie  finds  a  way,  assisted 
by  the  always  intelligent  and  sympathetic  direction  of  Thornton 
Freeland.  Miss  Brice  croons  as  capably  as  ever,  and  brings 
emotional  sincerity  to  her  more  serious  scenes.  Armstrong 
is  really  splendid  in  his  humorous  role. 


One  Romantic  Night 


1ILLIAN  GISH'S  first  talking  picture  is  another  film  ver- 
sion of  the  Molnar  play,  "The  Swan."  Any  competent 
.ingenue  could  have  played  the  princess.  Miss  Gish's 
tremendous  talents  are  wasted  in  the  role.  She  is  quietly 
humorous  and  charming — she  does  all  she  can  to  make  her 
antiquated  vehicle  interesting.  But  the  odds  are  against  her. 
Superlative  direction  might  have  helped;  but  Paul  Stein's  ex- 
cellent, painstaking,  workmanlike  style  did  nothing  to  help  things 
along.  Only  Von  Stroheim  or  Lubitsch  could  have  extracted 
real  meaning  from  the  slight  circumstances.  "One  Romantic 
Night"  proves  little  one  way  or  another  as  to  Lillian  Gish's 
talkie  qualifications.  What  could  she  do  with  a  great  tragic 
role?  Marie  Dressier,  O.  P.  Heggie  and  Conrad  Nagel  are  the 
most  conspicuous  members  of  Miss  Gish's  supporting  cast,  in 
which  Rod  La  Rocque  plays  the  part  of  the  philandering 
prince  with  appropriate  bluster. 


88 


SCREENLAND 


Harry  Langdon  is  al- 
ways a  tremendous 
amount  of  fun  at  a 
party  and  has  a  quaint 
line  of  humor  that  is 
all  his  own. 


Our  party  reporter 
says  Buster  Keaton 
came  to  the  party  in 
quite  a  'grinny  mood. 
She  ought  to  know, 
but    who'd   guess  it? 


J^appy  eJ^Tilestones 


Hollywood  Celebrates  Its  Birthdays 
and  Anniversaries,  Too 

By  Grace  Kmgsley 


i 


t  s  to  be  a  surprise  party,  and  Bebe  thinks  there 
are  to  be  only  three  people  there  with  her  and 
her  mother!"  exclaimed  Mae  Sunday,  who  was 
giving  Bebe  Daniels  a  birthday  party  at  the  Roose- 
velt  Hotel. 

Everybody  was  in  cahoots,  there  at  the  hotel,  to  keep  the 
thing  quiet,  from  managers  down  to  maids  and  waiters. 
So  when  Bebe  arrived  she  was  ushered  into  a  darkened 
dining  room! 

"What's  this?"  she  demanded. 

Then  they  sprung  the  lights,  and  there  were  a  hundred 
people  waiting  to  welcome  their  friend. 

Billy  Haines  and  his  pretty  sister  were  among  the  first 
people  we  talked  to  after  Bebe  had  said  a  slightly  tremu' 
lous  hello  to  everybody,  and  we  had  been  greeted  by  her 
mother,  Phyllis  Daniels,  and  by  Mae,  who  was  looking 
lovely  in  her  party  gown.  Bebe,  as  usual,  was  dressed  in 
white. 

We  looked  around  for  Ben  Lyon,  but  alas,  on  this  night 
of  all  nights,  poor  Ben  had  had  to  work,  but,  of  course, 
he  came  later  on  in  the  evening. 

Lilyan  Tashman  was  there,  but  Eddie  Lowe  hadn't  come. 
He  had  received  the  news,  that  day,  of  the  death  of  his 
brother,  who  had  long  been  ill,  and  naturally  didn't  feel 
like  being  present  at  any  gay  festivities.  He  did  come, 
very  late,  however,  to  escort  his  wife  home. 


'"Oh,  dear,"  sighed  Patsy,  the  party  hound,  looking 
about,  "all  the  long  white  gloves  in  Hollywood  will  soon 
have  changed  hands,  literally  and  figuratively." 

"What  do  you  mean — changed  hands?"  inquired  Lilyan. 

"Why,  everybody  is  wearing  them,  and  as  they  are  too 
bulky  to  put  into  bead  bags,  and  will  be  handed  to  escorts 
at  supper  time,  naturally  the  girls  will  forget  to  take  them 
back  when  they  get  home,  and  their  escorts  will  probably 
think  they  belong  to  somebody  else,  and  pass  them  along. 
I  had  two  pairs  that  didn't  belong  to  me  mailed  to  me 
this  week,  and  one  pair  sent  by  a  man's  chauffeur,  and 
I  have  no  idea  who  they  belong  to." 

"Well,  anyhow,  you'll  have  some  in  case  your  escort 
tonight  forgets  to  hand  back  your  gloves,"  Lilyan  consoled. 

Carmelita  Geraghty  came  in,  looking  as  Spanish  as  could 
be,  clad  in  a  slinky  black  gown,  and  wearing  long  black 
earrings.  She  was  all  to  the  Carmelita,  and  not  a  bit  to 
the  Geraghty,  as  Billy  Haines  remarked. 

"She's  really  a  nice,  quiet,  sweet  girl!"  Billy  chaffed 
her,  whereupon  Carmelita  pretended  to  go  into  a  temper- 
amental Spanish  rage. 

Allan  Dwan  and  his  wife  were  there,  just  back  from 
Europe,  and  Allan  said  he  liked  Germany  best  of  any 
foreign  country,  because  it  had  more  pep  and  enterprise 
than  any  of  the  rest  of  them. 

Doris  Dean  Arbuckle,  divorced  wife  of  Fatty  Arbuckle, 


for    ] un  e  1930 


89 


Bebe  Daniels  expected 
three  people  at  her  birth- 
day party  and  a  hundred 
came.  Bebe's  mother  ar- 
ranged it,  and  the  most 
popular  stars  were  among 
the  guests.  Ben  Lyon 
told    Bebe    he    had  a 


present  for 
but  couldn't 
"A  horse?" 


her  outside 
bring  it  in. 
asked  Bebe 


— but  it  turned  out  to  be 
a  Ford  car,  a  replica  of 
Bebe's  big  town  car. 


was  there,  accompanied  by  Al  Hall;  and  there  were  Nor- 
man Kerry,  Barney  Glazier,  Edward  Knopf,  Marie  Mos- 
quini,  Alma  Tell  and  just  dozens  of  others. 

Jack  White  brought  Pauline  Starke,  his  wife,  to  whom 
he  seems  as  devoted  as  he  did  years  ago  when  they  were 
first  engaged. 

Buster  Keaton,  strangely  enough,  was  in  quite  a  grinny 
mood  that  evening,  and  his  wife,  Natalie  Talmadge  Keaton, 
who,  to  me,  is  still  the  beauty  of  the  Talmadge  family,  was 
looking  as  sweet  and  charming  as  usual. 

Buster  told  us  that  he  was  sure  Fred  Stone  would  sue 
him  when  he  saw  his,  Buster's,  latest  comedy. 

Tve  gone  Fred  Stone  and  danced  all  over  the  place," 
he  told  us. 

"Oh,  there's  Alma  Rubens!"  cried  Patsy. 

And  there,  sure  enough,  was  Alma,  out  on  the  floor 
dancing  with  Norman  Kerry. 

She  was  looking  very 
sweet  and  pretty,  and  there 
is  a  new  look  of  peace  on 
her  face,  but  something  of 
an  expression  of  sadness,  too. 

"I  wonder  if  Billie  Dove 
and  Howard  Hughes  are 
falling  in  love  with  each 
other,"  remarked  Patsy.  "I 
see  them  together  a  good 
deal.  They  are  here  together 
tonight." 

Billie  told  us,  though,  that 
she  hadn't  been  going  out 
much  of  late,  she  had  been 
working  so  hard. 


John  Boles,  handsome,  gal- 
lant and  courteous  as  ever, 
was  there  with  his  wife.  We 
hear  that  he  speaks  perfect 
French,  and  that  this  is  go- 


Hollywood  Party  Lines: 

"One  of  our  studio  officials,"  related 
Harry  Langdon,  "had  on  hand  a  pig  he 
had  bought  for  a  picture.  He  tried  to 
rent  him  out  for  other  pictures  but 
with  no  luck.  It  got  so  that  every  story 
we'd  write  he'd  come  in  and  listen  to 
it  and  exclaim  at  intervals:  'Now 
there's  a  fine  spot  for  a  pig!'" 
•        «  • 

When  Garmelita  Geraghty  arrived 
at  Bebe  Daniels'  surprise  party  clad  in 
a  slinky  black  gown  Billy  Haines  said: 
"She's  all  to  the  Garmelita  tonight,  not 
a  bit  to  the  Geraghty!" 


ing  to  be  a  great  help  to  him  in  pictures. 

Polly  Moran  was  a  guest,  and  kept  everybody  giggling 
as  usual.  She  had  come,  I  think,  with  Billy  Haines  and 
his  sister. 

Blanche  Sweet  came  with  Dan  Denker,  who  seems  rather 
devoted  these  days.  He  played  the  lead  in  "Rio  Rita"  in 
New  York,  you  know. 

"Blanche  is  the  miracle  lady  of  Hollywood,"  remarked 
Patsy.  "She  not  only  holds  her  age — she  improves  on  it. 
She  actually  looks  ten  years  younger  than  she  did  ten 
years  ago." 

I  forgot  to  say  that  Norman  Kerry  had  brought  Marion 
Harris.  These  two  seem  to  be  always  together,  and  it  is 
quite  definitely  known  that  she  isn't  going  to  be  recon- 
ciled to  Rush  Hughes,  to  whom  she  was  married. 

Norman  was  wearing  quite  a  fierce-looking  mustache, 

and  when  Bebe  was  dancing 
with  him,  and  it  tickled  her 
nose  as  she  talked  to  him, 
she  exclaimed,  "how  often* 
have  I  told  you  that  you 
cannot  bring  aigrettes  into 
this  country!" 

Lilyan  Tashman  and  Allan 
Dwan  kidded  each  other 
about  a  party  they  had  both 
attended  back  in  New  York 
during  their  recent  visit 
there. 

"It  was  five  o'clock  in 
the  morning,  I  know,"  said 
Lilyan,  "but  I  just  couldn't 
get  away." 

"No,  you  were  standing  in 
a  pot  of  glue,  and  if  you 
could  have  got  your  shoes 
off,   you   could   have  gone 
(Continued  on  page  128) 


SCREENLAND 


Above:  Roberta  Robinson,  a  new- 
comer   with    a    voice,    is  worth 
watching. 

Lillian   Gish,  right,  is  rehearsing 
in  a  play,  "Uncle  Vanya,"  her  first 
stage  appearance  in  years. 


IF  you're  young,  blonde  and 
slender,  with  a  beautiful 
face,  a  lovely  singing 
voice  and  an  ability  to 
play  the  piano,  the  Boston  Con- 
servatory of  Music  is  no  place 
for  you.  At  least  not  when 
you  can  take  the  train  to  New 

York  and  get  a  job  in  talking  pictures  at  umptyumph 
hundreds  of  dollars  a  week. 

Roberta  Robinson  had  been  attending  the  Boston  Con- 
servatory for  several  years  when  the  bright  idea  struck  her/ 
to  come  down  here  to  New  York  and  look  over  the  talking 
picture  market— object,  a  contract.  So  she  closed  her 
piano,  kissed  the  home  folks  goodbye  and  set  out  for  the 
big  city. 

But  the  big  city  received  her  coldly.  To  be  exact,  no' 
studio  could  see  her  as  a  picture  type,  even  looking 
through  their  largest  and  strongest  lenses.  Although  she 
visited  every  company  not  a  single  casting  director  cast  his 
eye  in  her  direction. 

Roberta  felt  pretty  badly.  To  go  home  and  tell  the 
folks  your  young  dream  of  a  career  is  busted  is  medicine 
pretty  hard  for  a  girl  to  take.  So  Roberta  sat  down  and 
thought — hard. 

The  first  thing  that  came  into  her  mind  was  the  fact 


You'll  be  seeing  Claire  Luce 
soon  on  the  screen. 


When  East  is  Rest 
and  West  is  East 


that  all  singers  and  concert  artists  have  agents.  "Why 
shouldn't  I  have  one?"  she  asked  herself.  "I  should,"  she 
answered  herself.  And  put  on  her  hat,  and  hopped  the 
subway  to  an  agent's  office. 

The  agent  looked  up  wearily.  'Another  talkie-struck 
girl,"  he  thought  to  himself.  But  he  decided  to  let  her 
sing.    That  was  easier  than  arguing. 

He  got  the  surprise  of  his  life.  Roberta  really  could 
sing.  And  well.  In  fact,  she  sang  so  splendidly  that  he 
became  enthusiastic,  and  immediately  took  her  over  to  the 
Paramount  studio  for  a  test. 

She  went  over  big.  There  is  a  patrician  appeal  about 
Miss  Robinson  which  is  hard  to  find.  Iri  addition,  she  has 
real  beauty  and  a  brain  which  actually  works. 

Roberta's  first  picture  will  be  with  Helen  Kane  in 
"Dangerous  Nan  McGrew,"  so  look  out  for  this  new 
screen  find  when  that  film  hits  your  town. 


for    June  1930 


91 


Adolphe  Menjou  returned  from 
France  and  may  remain. 


By 
Anne  Bye 


Lillian  Gish  has  shaken  the  star  dust  of  Hollywood  off 
her  soles,  at  least  temporarily.  She  is,  at  present,  installed 
in  her  beautiful  apartment  on  Beekman  Terrace,  New- 
York,  where  the  wind  blows  in  wild  and  free  from  the 
adjacent  East  River. 

With  a  parrot  named  John  Gish — after  Lil's  grand-, 
father — who  spends  most  of  the  day  saying,  "Oh,  my 
dear!"  a  wire-haired  fox  terrier  named  Georgie,  and  her 
German  maid,  Josephine,  Miss  Gish  puts  in  her  time 
working  hard  on  the  lines  of  her  new  play,  '"Uncle 
Vanya,"  which  is  in  rehearsal  under  the  Jed  Harris  banner 
and  will  have  opened  on  Broadway  by  the  time  you  read 
these  words. 

Nearly  every  evening,  Miss  Gish  goes  to  the  theater, 
often  with  George  Jean  Nathan — but  she  refuses  to  dis- 
cuss this  friendship  with  any  reporter. 

Lillian's  love  for  the  theater  is  a  solid  thing  which  has 
existed  for  many  years.    Eighteen  months  ago,  Miss  Gish 


Lucile  Gleason  was  welcomed  by 
her  old  friends  on  her  visit. 

Jack  Whiting,  who  is  married  to 
Douglas    Fairbanks    Jr.'s  mother, 
entrains   for   Hollywood    and  the 
talking  films. 


made  up  her  mind  to  become  a 
stage  player.  With  this 
view,  she  went  to  Germany 
and  spent  a  great  while  at 
Salzburg  where  she  rehearsed 
with  Reinhardt  and  his  play- 
ers. This  was  a  real  feat,  for 
all  plays,  naturally,  were  given 
in  German  and  Miss  Gish  had  difficult  work  to  gain  the 
wide  command  of  language  necessary  for  such  roles. 

$  3n  ^ 

It  looks  like  Old  Home  Week  in  the  Crawford-Fairbar.ks 
menage.  For  young  Douglas  Fairbanks"  mother  is  about 
to  become  a  permanent  resident  of  Hollywood. 

This  is  how  it  happened.  Jack  Whiting,  the  popular 
musical  comedy  juvenile,  is  at  present  on  his  way  to 
Hollywood  where  he  will  make  "Top  Speed,"  for  First 
National,  with  Joe  E.  Brown  and  Bernice  Claire.  Now, 
since  Jack's  wife  is  no  other  than  the  former  Mrs.  Douglas 
Fairbanks,  young  Doug's  mother,  you  can  see  what  a  great 
happiness  this  will  be  for  the  boy,  for  every  one  knows 
that  Doug  Junior  has  always  been  staunch  and  loyal  to 
his  mother.  When  he  was  married,  instead  of  having  the 
ceremony  performed  in  Hollywood — the  logical  place  for 
such  an  event — he  came  all  the  way  to  New  York  so  his 
mother  might  be  present  at  the       (Continued  on  page  112) 


92 


SCREENLAND 


When   Alice   White's  Italian   ancestry   comes  to 
the  fore  she  hies  to  the  kitchen  to  make  frijoles, 
tamales  and  things. 


MY  grandmother,  Mrs.  I.  Alexander,  raised 
me.   And  I  suppose  she  spoiled  me,  like  all 
grandmothers  do.    She  never  could  bear  to 
punish  me,  and  she  used  to  humor  every  one 
of  my  whims. 

For  instance,  if  I  as  much  as  suggested  something  I 
would  like  for  dinner,  she  would  go  out  of  her  way  to 
get  it  for  me.  Grandma  is  part  Italian,  and  I  get  my 
taste  for  highly  seasoned  foods  from  her. 

And  even  now  she  remembers  all  those  fattening 
things  I  liked  when  I  was  a  little  girl.  And  I'll  go 
home  nights  to  find  she  has  made  some  of  the  spice 
cookies  I  like  so  well,  or  raviolis,  or  enchilades.  If 
I  don't  taste  them,  her  face  falls  so  pathetically.  I 
know  she  worked  hard  to  make  them,  so  I  take  a 
little.  Then  all  my  good  resolutions  are  gone.  I  take 
another  helping,  then  another.  And  after  a  few  days 
I  find  I've  gained  several  pounds. 

We  like  things  cooked  in  olive  oil.  And  is  grandma! 
a  good  cook?  Well!  I  believe  she  could  cook  wood 
chips  and  make  them  delicious.  And  she  never  goes 
by  a  recipe.  Just  a  dash  of  this  and  a  pinch  of  that. 
When  I  cook,  I  have  to  follow  a  cook  book  religiously. 

I'm  not  a  good  cook  myself.  I  haven't  had  much 
experience.  When  a  woman  works  hard  and  cooks 
and  cooks,  and  does  not  like  cooking,  she  tries  to 
shield  her  daughter  or  granddaughter  from  it.  That 
was  the  way  it  was  in  our  family.  I  never  showed 
any  talent  along  that  line,  so  I  was  never  made  to 
do  it. 

I  would  mess  around  the  kitchen  sometimes.  When 
a  pie  or  cake  was  being  baked,  I  always  liked  to 
make  baby  ones  for  myself.  Meats,  vegetables,  or 
heavy  foods  never  interested  me  while  in  the  process 
of  cooking. 

But  I  have  always  liked  to  experiment.  In  cooking, 
as  well  as  in  other  things,  I  like  to  try  to  make  some- 


Come 

into  the 

Kitchen 


By  Alice  White 


THIS  STAR'S 

Mexican  Enchilades 

Prepare  a  mixture  in  the  proportion  of  three  parts  corn  meal 
to  one  part  flour  and  two  eggs.  Mix  corn  meal,  flour,  eggs, 
a  pinch  of  salt  and  one  bunch  finely  chopped  parsley.  Add 
enough  milk  to  make  a  running  dough.  Form  into  tortillas  and 
fry.  Mix  two  pounds  finely  ground  chicken,  one  large  chopped 
onion,  one  ounce  chili  powder,  one-half  ounce  comino  powder 
and  one-half  ounce  oregano  powder  into  a  paste.  Roll  the 
tortillas  up  with  the  paste  inside,  pour  chili  gravy  over,  and 
sprinkle  with  Italian  cheese. 


//   Sid   Bartlett,   Alice's    best    boy    friend,  says 
proudly    acclaim    that    she    made  them. 


for    June    19  30 


93 


with 

Alice 
White 


Movieland's  Gayest  Flapper 
Competes  for  Culinary 
Honors 


FAVORITE  RECIPES 


Italian  Spaghetti 

Break  one  pound  spaghetti  into  boiling  water,  boil  for  fifteen 
minutes  and  drain.  While  spaghetti  is  cooking  fry  two  slices 
of  ham  cut  in  small  pieces  with  one  medium  size  chopped 
onion;  add  two  peeled  tomatoes,  also  chopped.  Dust  with  two 
tablespoons  flour,  add  one  cup  broth  or  water  and  let  simmer 
until  the  right  consistency.  Add  one  clove  of  garlic  chopped 
very  fine,  then  add  the  spaghetti  and  mix  well.  Serve  with  a 
well'seasoned  tomato  sauce  and  sprinkle  cheese  over  it. 


these  are  the  best  tamales  he  ever  ate  Alice  will 
Otherwise — well,    use   your  imagination. 


Alice,  all  hot  and  bothered,  supervises  the  cook- 
ing of  one  of  her  flavorsome  dishes  and  hopes  it 
turns  out  all  right. 


thing  that  interests  me.  When  I  was  a  little  girl,  I 
would  come  home  from  a  friend's  house  and  try  to 
duplicate  one  of  the  dishes  I  had  eaten. 

I  especially  remember  one  time  when  I  had  been 
to  a  birthday  party.  The  cake  was  particularly  heavily 
decorated.  It  must  have  been  one  of  the  first  decorated 
cakes  I  had  seen.    Anyway,  I  came  home  fascinated. 

Grandma  wasn't  home.  So  I  decided  to  surprise 
her  with  a  cake  decorated  to  rival  the  birthday  one. 
I  couldn't  have  been  more  than  six.  I  didn't  know  a 
thing  about  cake  baking  except  that  you  put  flour 
and  milk  together  and  baking  powder,  then  stuck  it 
in  the  oven.  Well,  I  managed  to  get  something  baked. 
But  when  I  attempted  to  decorate  ! 

Grandma  was  surprised  all  right.  She  came  home 
to  find  her  kitchen  covered  with  cake  flour,  milk, 
sugar,  sirup;  and  me  standing  in  the  middle  of  this 
mess — howling  half  in  rage  and  half  in  sorrow.  She 
didn't  say  a  word.  Just  rescued  me  from  the  debris, 
and  comforted  and  petted  me.  After  that,  I  was  able 
to  tell  a  coherent  story. 

She  persuaded  me  to  wait  a  little  while  before  start- 
ing on  a  career  of  cake  decorating.  And  explained 
that  bakery  cooks  had  special  tools  to  make  those 
pretty  curly-cues  and  rose  buds. 

I  had  forgotten  all  about  the  cake  until  on  my  next 
birthday,  a  big,  round,  highly  decorated  image  was 
set  at  my  place.  This  cake  had  all  the  rose  buds  of 
the  other,  and  several  blue  birds,  too.  The  bakery  cook 
at  the  corner  of  our  street  had  donated  the  necessary 
tools. 

Brightly  colored  food  advertisements  in  the  maga- 
zines intrigue  me.  I  like  to  cut  them  out,  and  when 
I'm  not  busy  working  at  the  studio,  experiment  with 
the  recipes.  I  still  like  to  try  out  things  at  home  that 
I  have  eaten  at  restaurants  or  at  friends'  homes. 

When  I  attempt  things  for    (Continued,  on  page  106) 


94 


Proving  that  Every  Bride's 
Wish  for  a  Continuance  of 
Beauty  May  Come  True 


SCREENLAND 


c&he  Beauty 


Ann    Harding    confirms    our    theory    that  never 
does  a  girl  appear  to  better  advantage  than  in 
bridal  array.     Ann   exemplifies   the  beauty  that 
comes  from  sane,  wholesome  everyday  living. 


IN  springtime,  all  the  poets  sing  of  love — and  as  spring 
passes  into  early  summer  the  song  deepens  into  a  very 
paean  of  beauty  and  happiness.    In  youth,  and  spring 
— one  looks  upon  .love  as  eternal,  on  constancy  as  the 
natural  attribute  of  all  honest  men.    Doesn't  one  have  all 
the  poets  and  all  the  great  old  lovers — Dante,  Abelard  and 
Robert  Browning  to  prove  it? 

There  is  something  in  the  heart  of  everyone  of  us  that 
beats  in  time  to  the  wedding  march.  "Here  comes  the 
bride — "  a  swaying,  fluttering  vision  in  filmy  white,  float' 
ing  down  a  broad  church  aisle,  roses  crowding  about  the 
altar,  girl  attendants  in  pastel  colors  forming  an  exquisite 
background  suggesting  the  rainbow  in  the  heavens  after  a 
summer  shower. 

Romance  and  memories  surge  back  to  us  with  the  scent 
of  the  lilies  and  roses,  Nature's  rich  gifts  for  this  bridal 
month — and  we  breathe  a  prayer  that  the  June  bride  and 
each  bride  of  every  month  of  the  year  may  find  her  heart's 
desire  at  her  rainbow's  end. 

If  a  bride  could  have  but  one  wish  come  true,  I  believe 
she  would  ask  for  a  continuance  of  love  and  beauty.  And 
surely,  love  and  beauty  were  never  meant  to  die.  Love, 
carefully  cherished,  should  deepen  with  the  years.  And  the 
beauty  of  sparkling  eyes,  the  exquisite  flush  of  a  lovely 
cheek,  the  glorious  luster  of  rippling  locks — such  beauty  was 
never  meant  to  vanish. 

The  beauty  of  first  youth  passes,  but  time's  fingers  may 
be  taught  caressing  ways.  For  youth  to  remain  unchanged 
would  be  as  great  an  anomaly  as  for  one  to  stand  still  men' 
tally.  But  there  is  a  charm  that  comes  from  beauty  of 
living,  depth  of  feeling  and  understanding,  a  spirit  of  youth 
that  is  more  beautiful  than  youth  itself.  And  there  is  an 
external  loveliness  that  comes  from  exquisite  grooming,  per' 
fection  of  detail — a  beauty  of  daintiness  that  everyone  may 
possess.    Beauty  need  not  fear  the  passing  of  the  years. 

We  have  seen  girls  who,  at  seventeen,  have  all  the  promise 
of  beauty  and  at  thirty  are  faded  and  sallow,  their  bodies 
fat  and  drooping,  their  whole  appearance  marked  by  the 
small  sins  of  neglect.  But  as  they  grow  older  comes  an 
urge  to  good  looks  and  at  thirtyfive,  forty,  even  older,  be- 
cause of  the  faithful  care  they  have  given  to  skin,  hair  and 


Billie  Dove  believes   there's  no  detail  of 
good  grooming  more  important  than  live, 
shiningly  clean  hair. 


A  real  bride,  Loretta  Young.    Fresh,  sweet  and  dainty, 
Loretta  is  a  lovely  example  of  the  beauty  that  health 
and  good  grooming  achieve. 


for    J  une  1930 


9? 


of  Daintiness 


figure,  they  are  called  'handsome.'  It  is  not  always  because 
circumstances  have  been  kind.  Often,  the  will  to  beauty 
is  perversely  left  out  of  the  characters  of  those  who  are 
most  richly  endowed  with  its  attributes,  while  it  appears 
amazingly  in  girls  who  have  all  their  lives  been  called  'plain.' 

So  you  see,  girls,  it's  all  up  to  you.  You  may  be  young 
and  irresponsible  with  plenty  of  money  to  spend  on  your- 
self; or  a  busy  business  or  professional  girl;  you  may  be 
a  bride  of  today  with  love  and  the  world  at  your  feet,  or 
a  bride  of  ten  or  twenty  years  ago.  But  one  of  you  has 
as  good  a  chance  of  being  charming  as  another.  You  are 
all  equal — because  your  beauty  is  what  you  make  it.  Even 
if  you  started  with  an  equal  measure  of  good  looks  you 
would  come  out  about  the  same,  for  it's  the  will  to  beauty 
that  determines  which  way  or  how  far  you  will  go. 

Before  you  were  married,  Jack  or  Harry  or  Tom  raved 
about  the  melting  depth  of  your  eyes;  your  long,  curling 
lashes;  a  curl  that  caressed  your  cheek.  He  will  continue 
to  appreciate  these  assets  after  you  are  married — though  he 
may  sometimes  forget  to  rave  about  them!  But  a  beauty 
that  every  man  appreciates,  that  may  be  yours  to  have  and 
to  hold  through  the  years,  is  the  beauty  of  daintiness. 
Smooth,  shining  hair,  hands  that  are  well-kept,  a  smooth 
skin,  a  trim,  neat  figure — these  things  a  man  senses  and 
approves  though  he  has  been  married  one  year  or  forty. 

A  dainty  woman  is  always  an  attractive  woman,  and 
daintiness  means  more  than  just  cleanliness.  You  may  jump 
in  a  tub  of  water,  scrub  yourself  hard  with  soap  and  a 
flesh  brush,  jump  out  again,  dry  quickly,  get  into  a  dress 
fairly  bristling  with  cleanliness — and  while  you  may  be 
clean  and  look  it,  you  won't  be  dainty.  You  may  take  a 
scrubbing  brush  and  sandstone  to  your  hands  after  digging 
in  the  garden  and  get  them  thoroughly  clean  but  they  won't 
look  dainty.  And  you  may  stay  too  long  on  the  golf  course 
in  a  hot  sun  without  protecting  the  skin  and  have  a  healthy, 
tanned  look,  but  you  won't  have  a  dainty  one.  You  can 
wash  your  hair  with  soap  and  water,  dry  it  quickly,  run  a 
comb  through  it  and  say  "Thank  goodness,  that's  done!" 
It  may  be  clean,  but  it  won't  have  the  well-groomed  look 
that  belongs  to  hair  that  is  carefully  washed,  dried  in  the 
sun  and  air  and  then  well  brushed.  (Continued  on  page  114) 


By 

Anne  Van  Alstyne 


Charming  Marilyn  Miller:  an  exquisite  symposium 
of  all  the  beauty  of  all  the  brides  in  all  the  world. 
A  faultless  example  of  the  loveliness  that  fastidious 
grooming  and  perfection  of  detail  may  give. 


Billie  Dove  enjoys  a  period  of  relaxation  in  one  of 
the    lovely    negligees    in    which    she    specializes  and 
seldom  has  time  to  enjoy. 


Olive  Borden  loves  all  spicy,  fragrant  bath 
accessories,    especially    her   favorite  brand 
of  toilet  water. 


96 


SCREENLAND 


The  e?TAGE 


Considering  the  New 
Plays  before  the  Screen 
Claims  Them 


Warren   William  and  Helen  Flint  in  "Those 
We  Love,"  George  Abbott's  first  play  since  he 
has  signed  himself  to  the  talking  movies. 


G 


The  Green  Pastures 

angway  for  de  Lord!"  shouts  the  Angel  Gabriel 
at   the   fish-fry  party  in   Heaven   in  "The 
Green  Pastures,"  a  play  made  by  Marc  Con- 
nelly  from  Roark  Bradford's  "OF  Man  Adam 
and  His  Chillun." 

Gangway  for  one  of  the  greatest  plays  ever  seen!,  I 
shout  with  both  my  lungs. 

Gangway  for  the  most  perfectly  mixed  eighteen  scenes 
of  beauty,  sublimity,  satire,  laughter,  pathos  and  acting 
that  you  have  ever  seen  or  are  like  to  see  for  many  years! 

Gangway  for  Connelly,  Bradford,  Laurence  Rivers, 
Robert  Edmond  Jones,  the  singers  of  spirituals  under  the 
direction  of  Hall  Johnson  and  the  great,  simple,  sublimely 
touching  impersonation  of  the  Lord  by  Richard  B.  Har- 
rison. 

"The  Green  Pastures"  is  a  fable  done  in  negro  psy- 
chology, by  a  company  of  ninety  negroes,  of  the  Book 


"Flying  High"  is  George 
White's  musical  melange 
of  aviation  monkeyshines, 
with  Bert  Lahr  as  prin- 
cipal comedian.  Lahr  is 
an  original — the  craziest, 
funniest  buff  o  on  on 
Broadway. 


of  Genesis.  Gabriel,  Moses,  Joshua,  Aaron,  Adam,  Eve, 
Noah,  Isaac,  Jacob,  Abraham  and  Cain,  with  other  well- 
known  ancients,  are  here.  If  you've  ever  seen  anything 
more  humorous  than  the  departure  of  Noah  in  his  ark  or 
Moses  before  Pharaoh,  or  anything  more  solemnly  beauti- 
ful than  the  exodus  out  of  Egypt,  then  give  me  the  name 
of  the  play. 

Well,  'The  Green  Pastures"  cannot  be  described.  If 
you  can  get  in  for  the  next  year,  see  it.  And  it  will  make 
one  of  the  few  great  pictures  of  all  time — if  the  bigots 
can  be  chloroformed. 

Simple  Simon 

Florenz  Ziegfeld  blew  into  town  with  Ed  Wynn  in  a 
musical  extravaganza  called  "Simple  Simon,"  which  sets  the 


Gangway  for  one  of  the  greatest  plays  ever 
mixed    eighteen   scenes    of   beauty,  sublimity, 
scene  from  this  fable  done  in  negro 


for    June    19  3  0 


97 


///  ^VIEW 


By 

Benjamin  De  Casseres 


Ed  Wynn  is  the  star  of 
the  Ziegfeld  extrava- 
ganza, "Simple  Simon." 
There  are  also  the  magic 
of  Urban  sets  and  danc- 
ing ensembles ;  but  Ed 
Wynn  is  the  whole  show, 
funnier  than  ever. 


Adam's  apple  a-chortling  as  long  as  Ed  himself  is  on  the 
stage  and  which  at  least  delights  the  eye  when  he  isn't 
there.  Then  there  are  the  magic  of  Joseph  Urban  and  the 
dancing  ensembles. 

Ed  Wynn  appears  in  a  make-up  of  a  half-idiotic  school- 
boy who  falls  asleep  and  dreams  of  fairies  (flash-back  to 
woods  and  fairies),  and  by  his  almost  ethereal  boobishness 
clowns  us  into  a  mood  that  is  sometimes  called  hysterical. 

There  are  a  lot  of  other  good  people  in  this  show;  but 
Ed  Wynn  is  distinctly  it.  If  you  want  to  bump  off  the 
blues,  take  a  night  with  Ed  Wynn. 

Apron  Strings 

Here  is  a  vital  little  play  all  about  the  Little  Boy  who 
wouldn't  or  couldn't  cut  the  apron  strings  that  held  him 


seen — "The  Green  Pastures,"  a  charmingly 
satire,  pathos  and  acting.  H ere  is  a  stirring 
psychology,  with  an  all-colored  cast. 


"A  pron  Strings"  is  a  vital  little  play  by 
Dorrance  Davis.    Roger  Pryor  is  fine  as  the 
boy,  with  Ethel  Intropedi  opposite. 


to  his  mother.  It  is  the  mamma  boy  worked  out  with 
laughs  and  splendid  acting,  and  a  lesson  to  all  young 
fellers  who  want  a  girl  to  go  after  her  as  you  go  after 
a  job  or  a  football — scramble  for  her! 

"Apron  Strings"  is  by  Dorrance  Davis,  and  it  tells  us 
how  Danny  Curtis,  one  of  nature's  purtiest  youngsters, 
lived  on  ethical  directions  from  his  dead  mother's  letters. 
She  had  left  him  a  trunkful,  telling  him  all  about  the 
courting  period  and  the  delicate  first  week  of  marriage. 
It  is  all  nice,  caramel-sundae  stuff,  and  Danny  attempts 
to  follow  the  rubbish  (not  knowing  that  his  mother  was 
a  sophisticated  Beatrice  Fairfax  on  a  Western  paper  who 
used  to  pass  out  this  bunk  to  millions  of  'Anxious 
Readers') . 

Well,  the  up-to-date  girl,  Inez,  and  her  hurly-burly, 
do-it-on-the-dot  mother  had  a  fearful  time  with  the  Dear 
Sweet  Boy  till  his  lawyer  finally  burnt  up  the  letters, 
got  him  drunk — and  so  up  the    (Continued  on  page  106) 


98 


Ramon  Novarro    with  Jean  and  Betty  Sanford,  who 
play  with  him  in  "In  Old  Madrid."    One  girl  is  the 
mother  of  the  other.  Guess!  Give  up?   Well,  Betty, 
fright),  is  the  proud  parent. 


Charlie  Chaplin  is  still  firmly  resolved  not  to 
go  talkie.  In  fact,  he  definitely  states  that  he, 
himself,  will  never  talk  in  pictures.  That  does 
not  mean  that  he  never  will  make  a  talking  pic- 
ture with  other  players.  He  may  or  he  may  not.  He 
hasn't  decided  about  that. 

Charlie  intends  to  make  silent  pictures  because  he  be- 
lieves there  is  a  great  market  for  them.  Being  an  owner 
of  United  Artists,  that  organization  is  morally  and  legally 
bound  to  release  any  picture  he  cares  to  make,  silent  or 
sound.  The  exhibitors  are  not  bound  to  buy  it,  but  Charlie 
has  had  plenty  of  evidence  that  they  will.  When  he 
couldn't  meet  the  release  date  on  his  latest  picture,  and 
told  the  exhibitors  that  he  couldn't,  he  was  deluged  with 
wires  begging  him  to  hurry  up. 

Charlie  operates  differently  from  almost  every  other  pic- 
ture producer.  They  calculate  that  if  they  put  so  much 
into  a  picture  they  will  make  a  profit  of  so  much.  Charlie 
doesn't  figure  that  way.  He  works  at  a  picture  until  he 
is  satisfied  that  he  has  something  to  give,  never  mind  how 
much  is  spent  on  it.  And  maybe  he  won't  make  a  thin 
dime  on  it — but  he  is  reasonably  certain  that  he  will. 

He  is  moving  the  Chaplin  studio  to  other  quarters  be- 
cause the  La  Brea  property  is  becoming  too  valuable  for 
motion  picture  purposes.  He  bought  the  site  in  1916  and 
paid  $33,000  for  it.  Today  it  is  worth  a  million  and  a  half 
dollars.  The  taxes  almost  exceed  the  original  purchase  price. 
Charlie  is  considering  many  offers  but  will  probably  locate 
in  Burbank  or  the  beach.    He  plans  to  spend  between  ten 


SCREENLAND 


Nils  Asther,  Raquel  Torres  and  Charles  Bickford  at 
Mazatlan,  Mexico,  with  Senor  E.  Paniagua-Ravelo, 
who    helped    director    Wesley    Ruggles    establish  a 
location  for  "The  Sea  Bat." 


Hot  from 

News  and  Views 


and  twenty  million  dollars  yearly  in  production  and  will 
select  new  people  and  build  them  up  rather  than  sign  well- 
established  stars  as  was  at  first  announced.  There  is  no 
truth  in  the  rumor  that  John  Gilbert  has  been  signed  or 
even  approached  on  this  subject.  This  news  the  Chaplin 
Studios  deny  ever  having  given  out,  nor  did  John  Gilbert 
make  the  statement. 

Meanwhile  Charlie's  picture,  "City  Lights,"  is  still  in 
the  making — the  company  working  very  hard  three  days  a 
week  as  a  general  rule! 

Joan  Crawford  is  all  in.  .  Eight  changes  of  costume  in 
a  picture  is  considered  an  ordeal  to  be  fitted  for,  but  poor 
Joan  has  seventeen  in  "The  Blushing  Bride."  That  means 
hours  and  hours  of  standing,  as  every  girl  knows.  And 
as  though  that  weren't  enough,  she  is  being  put  through 
an  intensive  training  by  Albertina  Rasch  for  the  dancing 
she  has  to  do.  "Of  course,  I'm  frightfully  out  of  practice 
and  that's  why  it  is  so  hard,"  said  Joan.  "It  is  nothing 
for  a  dancer  to  practice  for  an  hour  or  two  without  a 
moment's  rest,  but  when  you  have  been  out  of  it  for  as 
long  as  I  have  it  is  something  awful!  I  just  passed  right 
out  of  the  picture  the  other  day  at  Mme.  Rasch's  studio 
and  had  to  be  put  to  bed." 

Joan  says  there  is  one  thing  about  it  that  comforts  her 
and  that  is  a  total  lack  of  worry  on  the  subject  of  whether 
she  will  be  overweight  by  the  time  the  picture  starts. 

Robert  Montgomery  is  in  the  cast,  also  Anita  Page  and 
Dorothy  Sebastian. 

ifc  5fc  % 

John  McCormack  worked  for  ten  weeks  on  "Song  o'  My 
Heart"  and  received  fifty  thousand  dollars  a  week — yes, 
I  said  fifty,  not  five.  To  make  him  feel  at  home  a  special 
bungalow  dressing-room  was  built  for  him.    A  de  luxe 


for    June  1930 


99 


Barbara  Brower  thirteen-year-old  script  girl  on  "The 
Light  of  Western  Stars,"  settles  a  script  argument 
in  favor  of  Richard  Arlen,  star.    Barbara's  father, 
Otto  Brower,  is  only  the  director. 


Hollywood 

from  Coast  Studios 


bungalow,  substantially  built  with  brass  name  plates  and 
knocker  on  the  door.  There  are  four  rooms  and  two 
baths.  There  is  a  large  yard  beautifully  landscaped  with 
shrubbery,  trees  and  flowers,  and  the  roof — but  wait  until 
I  tell  you  about  the  roof.  It  is  thatched,  as  the  Europeans 
thatch  their  roofs;  and  Russians  were  employed  to  do  the 
job.  Insufficient  straw  was  ordered  and  more  had  to  be 
sent  for — from  Europe;  while  the  Russians  remained  on 
the  pay  roll  so  that  not  a  moment  would  be  lost  when 
the  straw  finally  arrived.  It  was  a  great  break  for  the 
Russians. 

Of  course,  the  contract  players  are  given  nice  dressing- 
rooms,  too.  Apartments,  two  rooms  and  a  shower.  Not 
nearly  as  grand  as  the  accommodations  for  the  visiting 
artist,  but  as  charming  as  the  very  real  interest  taken  by 
the  studio  decorator  can  make  them.  He  shops  in  dozens 
of  towns  for-  things  that  he  thinks  will  suit  the  tastes  and 
personality  of  each  player,  and  the  result  is  at  once  homey 
and  beautiful.     Charles  Farrell,  Janet  Gaynor,  Edmund 

Lowe  and  others  have  lovely  studio  homes. 

*  *  * 

They  just  won't  let  Chester  Morris  break  way  from 
prison.  Here  he  is  in  again — in  "The  Big  House"  for 
Metro,  directed  by  George  Hill.  Wallace  Beery,  Karl 
Dane  and  Robert  Montgomery  are  in  it,  too.  George 
Hill  always  gives  his  actors  a  break.  They  don't  have  to 
wear  make-up  "This  isn't  a  beauty  contest,"  said  Karl 
Dane. 

Wally  Beery  was  sunning  himself  between  scenes  and 
Chester  Morris  sneaked  up  behind  him  and  lighted  a  match 
under  his  chair  until  he  almost  caught  fire.  But  Wally 
only  stirred  a  little.  By  the  way,  United  Artists  has 
bought  the  stage  success,  "Death  Takes  a  Holiday"  for 
Chester.    He'll  be  a  Barrymore  yet! 


When  Briton  meets  Briton  in  the  colorful  environ- 
ment of  Hollywood.    John  Loder  and  Clive  Brook 
appear  with  Billie  Dove  in  "Sweethearts  and  Wives." 
Clive  plays  a  polite  detective  again. 


Everyone  went  out  to  see  Ronnie  Colman  play  cricket 
at  the  Midwick  Polo  Club  where  a  scene  in  "Raffles"  was 
being  filmed.  That  is,  Ronnie  didn't  really  play;  he  only 
stood  in  for  the  close-ups.  Not  that  he  can't  play  England's 
favorite  pastime  but  he  is  much  out  of  practice.  Sam 
Goldwyn  commandeered  the  services  of  twenty-four  ex- 
pert players  to  perform  before  the  camera.    It  is  the  first 

time  cricket  has  been  played  in  a  picture,  we  were  told. 

*  *  * 

Alison  Skipworth,  who  plays  an  important  part  in 
"Raffles"  and  is  an  old  time  stage  favorite,  is  much  amused 
by  the  things  one  has  to  do  to  make  pictures.  In  one  of 
her  scenes  she  was  supposed  to  turn  over  in  bed  and  groan 
loudly.  Director  Harry  D'Arrast  couldn't  figure  out  how 
to  give  her  the  signal  for  the  turn-over  and  finally  hit 
upon  the  idea  of  poking  her  with  a  long  pole  out  of 
camera  shot  at  the  psychological  moment.  Takes  between 
scenes  were  so  long  that  'Skippy,'  as  she  is  called  by  her 
friends,  found  herself  napping.  When  people  first  come 
out  here  they  are  just  a  bundle  of  enthusiasm,  rarin'  to 
go,  but  after  sitting  about  for  hours  on  end  waiting  for 
the  mechanics  they  learn  to  conserve  their  energies  for  the 
comparatively  few  minutes  before  the  camera. 

"You  don't  have  to  be  crazy  to  be  in  pictures,"  'Skippy' 

says,  "but  it  helps  if  you  are." 

*  *  * 

Brenda  Forbes,  the  lively  younger  sister  of  Ralph  Forbes, 
is  in  our  midst.  She  was  riding  in  Beverly  Hills  with 
Ellen  Guilbert  who  begged  her  not  to  post  because  she 


100 


SCREENLAND 


Jed    Kiley,    Paris    boulevardier,    now  writing 
film  stories,  with  Paul  Whiteman  and  Wynn 
Holcombe,  caricaturist  who  designed  the  sets 
for  "The  King  of  Jazz"  revue. 


was  out  of  practice.  But  things  began  to  go  well  and 
Brenda  went  faster  and  faster.  Suddenly  in  rounding 
a  curve  in  the  road  she  lost  her  balance  and  fell  face 
downward  in  a  pile  of  bricks.  When  Ellen  got  to  her 
she  was  just  emerging. 

"Fancy  my  doing  that,"  exclaimed  Brenda,  taking  it  as 
a  huge  joke.  "How  frightened  the  poor  horse  was,  and 
where  is  he?" 

"Never  mind  the  horse.  How  are  you?"  demanded 
Ellen. 

"Oh,  Em  perfectly  fit.  My  hat — where  is  my  hat? — 
there — now.    Lets  find  the  horse  and  continue  our  ride." 

But  Ellen  saw  that  Brenda's  face  was  scraped  and  bleed- 
ing and  wanted  to  get  her  home.  When  Brenda  looked 
in  the  glass,  she  said,  "Why,  what  a  sight  I  am.  Why 
didn't  you  tell  me  I  looked  such  a  sight?" 

"I  didn't  want  to  frighten  you,"  said  Ellen. 

"Oh,  dear  me,"  wailed  Brenda.  "What  shall  I  do?  Ralph 
studied  to  be  a  doctor  once  and  he  never  got  over  it.  He'll 
not  give  me  a  moment's  peace  until  he  has  me  bandaged 
up.    He  just  adores  to  mend  people." 

"Let's  put  some  iodine  on  the  cuts.  Perhaps  then  he 
will  think  that  you  have  been  taken  care  of  enough," 
Ellen  cheered  her. 

"You  don't  know  Ralph  as  I  do,"  said  Brenda  darkly. 


r 


This  pensive  trio  is  the  Gish  family — Mrs.  Gish 
with  Dorothy  in  her  arms  and  Lillian  at  her  side, 
in  their  stage  trouping  days. 


That  evening  Ellen  was  called  to  the  phone.  "What 
did  I  tell  you?"  said  Brenda,  "Ralph  was  delighted!  And 
Em  a  mass  of  patches.  I  shan't  be  able  to  go  out  for 
days!" 

*  *  * 

Cecil  De  Mille  has  a  bathtub  scene  in  "Mme.  Satan," 
now  in  production. 

"Is  he  superstitious  about  having  a  bathtub  in  every 
picture?"  a  visitor  asked. 

"No,"  laughed  Barrett  Kiesling,  Mr.  De  Mille's  press 
representative,  "he  isn't  superstitious.  After  all,  Mr.  De 
Mille  has  made  fifty  seven  pictures  and  only  seven  of 

them  have  had  bathtub  scenes."    Such  is  fame. 

*  *  * 

Clara  Bow  says  she's  going  to  stay  thin  and  let  her 
hair  grow. 

*  *  * 

Fox  got  out  the  green  velvet  carpet  for  De  Sylva,  Brown 
and  Henderson  when  they  returned  to  Hollywood  to  write 
an  original  score.  At  the  station  they  were  presented  with 
a  key  to  Los  Angeles,  Hollywood,  Beverly  Hills,  Malibu 
and  surrounding  points.  Then  a  dainty  miss  stepped  up 
and  piped,  "But  this  is  the  real  key,  the  key  to  Movie- 
tonia!" 

A  beautiful  bungalow  has  been  especially  and  cleverly 
decorated  for  them  by  the  studio  decorator,  Richard  Lewis 
Smith.  In  the  main  room  dark-town  flappers  and  their 
swains  are  pictured  in  various  stages  of  jazx  while  back 
of  them  loom  the  crazy  outlines  of  futuristic  sky  scrapers. 


for    June    19  30 


101 


Adolphe  Menjou  when  he  was  really  sophis- 
ticated.   At  the  age  of  three  Adolphe  carried 
a  cane  with  all  the  inimitable  ease  he  now 
displays  on  the  screen. 


A  dancing  girl  of  an  earlier  and  duskier  civiliza- 
tion supports  Dorothy  Lee,  snappy   1930  model 
who  graces  RKO's  musical  movies. 


Folks  were  wondering  who  the  handsome  man  was  that 
Doug  Fairbanks  greeted  so  cordially  the  other  day  on  the 
United  Artists  lot.  A  closer  view  revealed  the  familiar 
face  of  William  Farnum,  but  it  wasn't  any  wonder  he 
hadn't  been  recognized  at  first  glance  for  he  was  all  done 
up  in  the  silks  and  satins  of  a  king  of  long  ago.  Yes,  Bill 
has  come  back  to  pictures.  He  will  play  King  Louis  XV 
in  "Flame  of  the  Flesh,"  with  Norma  Talmadge.    It  is 

now  in  production,  and  is  the  story  of  Mme.  Du  Barry. 

*  *  * 

Do  you  know  that  there  have  been  more  worth-while 
songs  composed  for  the  sound  screen  in  the  past  year  than 
in  three  previous  years  of  popular  song  composition?  Harry 
Tierny,  who  composed  the  "Rio  Rita"  music,  and  has  a 
long  New  York  career  to  his  credit,  says  so.  And  Harry 
should   know.     He  wrote  "Dixiana,"  too,  which  Bebe 

Daniels  is  now  doing  at  RKO. 

*  *  * 

Lon  Chaney  was  all  enthusiasm  the  other  day,  the  reason 
being  some  pictures  of  his  little  grandson  that  had  just  ar- 
rived. Lon  was  showing  them  to  everyone  he  knew  on  the  lot. 

"Catherine,"  asked  Julia  Faye  of  Catherine  Dale  Owen, 
"what  were  you  thinking  of  all  during  the  time  Lawrence 
Tibbett  was  singing  that  song  to  you  on  the  rock  in  the 
'The  Rogue  Song?'  Don't  tell  me  your  thoughts  didn't 
wander!" 

"Well,"  confessed  Catherine,  "I  can  tell  you  that  Larry 
has  absolutely  perfect  teeth,  not  a  cavity  in  one  of  them, 


but  one  tonsil  is  just  a  fraction  of  an  inch  higher  than  the 
other.  And  I  am  an  expert  now  on  the  correct  movement 
of  the  diaphragm.  It  was  the  best  singing  lesson  I  have 
ever  had!" 

*  *  * 

Johnny  Mack  Brown  is  just  burning  the  screen  up  these 
days.  Almost  every  company  is  fighting  for  his  services, 
even  though  he  is  tied  to  a  Metro  contract.  Raoul  Walsh 
wanted  him  to  do  "The  Oregon  Trail"  for  Fox,  but 
Metro  popped  him  into  "Billy  The  Kid,"  which  Vidor 
will  direct.  Walsh  is  going  to  wait  for  him,  though. 
How's  that  for  popularity? 

*  *  * 

The  team  of  Talmadge  and  Roland  has  come  to  a 
pause  if  not  actually  to  an  end.  Gilbert  has  been  bor- 
rowed by  Metro  to  do  the  lead  in  "Monsieur  Le  Fox." 
He  will  play  it  in  two  languages,  English  and  Spanish. 
Conrad  Nagel  has  been  selected  to  play  opposite  Norma 
in  "Flame  of  the  Flesh." 

^  %  $t 

When  everyone  thought  that  Catherine  Dale  Owen 
and  Prince  Youcca  Troubetskoy  would  announce  their  en- 
gagement almost  any  time,  it  was  a  great  surprise  to  find 
that  Catherine  and  Youcca  were  'just  friends'  and  that 
Youcca  had  announced  his  engagement  to  Ethel  Sykes,  one 


102 


SCREENLAND 


of  the  1930  Florodora 
Sextette  beauties  scam' 
pering  about  the 
Marion  Davies  set. 

*      *  * 

"Joby  would  make 
a  real  opera  star,"  en- 
thused Robert  Woolsey 
to  his  brother  come- 
dian, Bert  Wheeler. 
"Do  you  know  that 
she  can  take  high  C 
as  easily  as  a  bird?" 

He  was  speaking  of 
Jobyna  Howland,  who 
is  over  six  feet  tall 
and  who  first  attained 
prominence  in  the  stage 
play  of  "The  Gold 
Diggers."  She  is  now 
appearing  in  RKO's 
"Radio  Revels." 

"Well,"  drawled 
Bert  in  a  facetious  re- 
ply to  Bob's  sincere 
compliment,  "I  should 
think  she  could.  She's 

up  high  enough  to  see  anything!" 

*  *  * 

Larry  Tibbett  led  the  way  from  opera  to  pictures  and 
look  what  comes  of  it.  Mary  Lewis  goes  out  to  Pathe 
and  gets  $4,000  practically  for  every  minute  she  sings 
on  the  screen,  and  Grace  Moore  goes  to  Metro  and  good- 
ness knows  how  much  she  gets.  We  have  it  from  some 
one  who  saw  them  that  the  knobs  on  her  dressing-room 
doors  were  encrusted  in  sterling  silver.    Now  we  ask  you! 

Where  is  this  thing  going  to  end? 

*  *  * 

Edward  Everett  Horton  and  several  others  were  watch- 
ing the  stunting  of  a  plane  over  the  First  National  studios 
where  he  is  playing  in  "Mile.  Modiste."  Eddie,  a  born 
comedian,  had  a  bath  towel  around  his  neck  instead  of  a 
muffler  as  most  actors  would  have,  even  if  the  grease 

paint  might  spoil  it. 

"That  plane  re- 
minds me  of  a  fight 
I  saw  of  two  young 
eagles  and  two 
crows,"  remarked 
somebody.  "The 
eagles  were  danger- 
ously near  the 
crow's  nest  and  they 
resented  the  famil- 
iarity. They  con- 
centrated upon  the 
eagle  nearest  their 
home  while  the 
other  eagle  beat  it 
clear  out  of  sight, 
leaving  his  buddy  to 
his  fate." 

"Well,"  said  Ed- 
die, in  that  earnest, 
half-shy   voice  you 
Talkie  letters?   Anyhow,  it's  an         all  know,  "I'm  glad 
age  of  pictures  and  the  fans  are  he     sayed  himself 

using  this  new  fihotoscript  sta-  v        .  . 

tionery  to  show  Buddy  Rogers  a  You    kno™'  ea§les 

close-up  of  themselves.  are  scarce!" 


When  Prince  Leopold  of  Prussia   (center),  and  Baron  Cereini 
visited  Hollywood  they  were  made  right  at  home  by  such  repre- 
sentatives of  true  democracy  as  Polly  Moran,  Marion  Davies, 
and  Marie  Dressier. 


Ina  Claire  and  Pathe 
have  decided  to  call  it 
a  day.  Meaning  that 
her  contract  which 
had,  at  the  time  of 
this  decision,  only  five 
more  weeks  to  run,  has 
terminated.  There  are 
no  hard  feelings,  not 
at  all.  Miss  Claire 
states  that  the  Pathe 
Company  have  been 
wonderful  to  her  and 
that  she  greatly  en- 
joyed her  first  picture. 
"The  Awful  Truth," 
with  them.  But  she 
is  quite  anxious  for 
more  diversified  roles 
than  they  have  to  offer 
at  present;  so  they  de- 
cided, in  the  friendli- 
est way,  to  sever  their 
relations. 


Lawrence  Tibbett  is 
just  as  charming  as  you 
would  imagine  him  to  be  after  seeing  and  hearing  "The 
Rogue  Song."  He  has  an  enthusiastic  personality  and  a 
gaiety  of  heart  that  sweeps  all  before  it.  It  is  possible 
that  this  bubbling  joyfulness  of  spirit  is  as  much  the  cause 
of  his  success  as  the  magnificent  voice  that  he  has  naturally, 
and  the  splendid  technique  he  has  worked  so  hard  to 
acquire. 

Nine  years  ago,  Lawrence  Tibbett  was  on  the  bill  of 
the  California  Theater  here  in  Los  Angeles,  getting  fifty 
dollars  a  week.  His  teacher,  Felix  Hughes,  urged  him  to  go 
to  New  York  and  study  with  Frank  La  Forge,  whom 
he  knew  could  get  Tibbett  a  hearing  at  the  Metropolitan. 
All  this  came  about,  as  the  world  knows.  Mr.  Tibbett 
talked  of  his  first  'chance'  at  the  opera  house.  He  had 
been  singing  bits  but  owing  to  some  illness  or  accident, 
he  was  offered  the  part  of  Valentine  in  Faust.  It  was  a 
dangerous  offer  to 
accept  and  a  dan- 
gerous offer  to  re- 
fuse. He  felt  that 
his  future  rested 
upon  his  decision. 
Of  the  two  dangers 
he  chose  taking  the 
part  and  he  went 
into  it  with  a  sink 
or  swim  determina- 
tion. He  made  a 
hit  and  from  that 
time  on  rose  stead- 
ily. He  is  the  only 
player  who  ever 
rose  to  prominence 
from  the  ranks  of 
the  Metropolitan 
and  he  is  the  only 
player  who  ever 
stopped  the  show  on 
that  famous  stage 
trod  by  the  greatest 
singers  of  the  last 
forty-odd  years. 


In  days  of  old  when  knights 
were  bold  they  must  have  looked 
just  like  Gary  Cooper.  And  if 
fair  ladies  fluttered  we  frankly 
don't  blame  'em. 


for    June    J  9  3  0 

H  ow  to  k 


103 


c 


APTI VATING 


Bebe  Daniels,  one  of  the  most  fascinating  of 
motion  picture  stars,  says  there's  one  essential 
charm  .  .  . 


HOW  to  be  captivating?"  Bebe 
Daniels  smiled  a  deprecating  little 
smile  as  she  considered  my  question.  But 
when  she  began  to  speak  her  appealingly 
beautiful  brown  eyes  were  thoughtful. 

And  then  I  learned  this  lovely  actress 
feels  emphatically  there's  one  thing  has 
more  to  do  with  a  girl's  attractiveness 
than  any  other  charm — a  beau- 
tiful skin — clear,  soft,  smooth.  » 

How  Alluring  in  any  girl !  r 
How  sure  to  win  admiration!  *\ 
And  to  the  screen  star,  Bebe 
Daniels  earnestly  explained,  a 
skin  of  breath-taking  loveli- 
ness is  really  essential! 

"Only  the  girl  with  smooth 
skin,"  she  said,  "  need  not  fear 
the  relentless  eye  of  the  cam- 
era. For  even  the  cleverest 
make-up  will  not  suffice  under 
the  searching  lens  of  the 
close-up. 

"That  is  why,"  she  went  on 
seriously,  "many  girls  lacking 
great  beauty  but  possessing 
lovely  skin  have  passed  on  the 
road  to  fame  the  woman  with 
'perfect  features. 

Hollywood's  favorite 

beauty  care 

"Lux  Toilet  Soap,"  she  con- 
cluded,"is  wonderful  for  keep- 
ing the  skin  smooth." 


Bebe  Daniels,  you  see,  is  one  of  the  511 
beloved  Hollywood  actresses  who  give 
their  skin  regular  care  with  Lux  Toilet 
Soap.  Fascinating  Anna  Q.  Nilsson  .  .  . 
cunning  little  Sally  Blane  .  .  .  vividly 
charming  Betty  Compson  .  .  . 

Actually  98%  of  the  lovely  complex- 
ions you  see  on  the  screen  are  kept  silky 


smooth  by  this  soothing,  fragrant  soap. 
Lux  Toilet  Soap  is  just  like  the  expensive 
soaps  you  get  in  France,  Hollywood  says. 
And  the  lovely  stars  use  it  regularly  at 
home  and  wherever  they're  making  pic- 
tures as  well. 

So  enthusiastic  are  they  that  Lux  Toilet 
Soap  has  been  made  the  official  soap  in 
all  the  great  film  studios. 

9  out  of  10  Lovely  Stars 

use  Lux  Toilet  Soap 

Of  the  521  important  actresses 
in  Hollywood,  including  all 
stars,  511  are  devoted  to  Lux 
Toilet  Soap. 

On  Broadway  the  stars  of 
the  outstanding  stage  suc- 
cesses, too,  use  it.  And  since 
so  many  of  them  are  playing  in 
the  talkies,  with  their  many 
close-ups,  they  are  more  than 
ever  grateful  to  this  delicately 
fragrant  white  soap! 

The  European  screen  stars, 
too — in  France,  in  England, 
in  Germany — have  now  adopt- 
ed it.  You  will  be  just  as  de- 
lighted with  it.  Order  several 
cakes — today. 


Photo  by      Bachrach,  Hollywood 

Bebe  Daniels,  fascinating  Radio  Pictures'  star,  in  her  lux- 
urious blue  and  silvery  gray  bathroom  in  Hollywood. 

"Many  girls  lacking  great  beauty  but  possessing  lovely  skin, 
have  passed  on  the  road  to  fame  the  woman  with  perfect  fea- 
tures. Lux  Toilet  Soap  is  wonderful  for  keeping  the  skin 
smooth  and  lovely!" 


Betty  Compson,  Radio  Pic- 
tures' star,  says:  "It  keeps 
my  skin  superbly  smooth." 


Anna  Q.  Nilsson,  Radio 
Pictures'  star,  says: 
"Leaves  my  skin  like 
velvet." 

Sally  Blane,  Radio  Pic- 
lures'  star,  says:  "It's  a 
wonderful  soap." 


Lux  Toilet  So 


a 


First  Sweeping  Hollywood — then  Broadway 
—  and  now  the  European  Capitals  . 


IO 


104 


Richard  Arlen  and  two  of  his  most  adoring  fans.  Dick  has  many 
other  admirers  who  write  in  to  Miss  Vee  Dee  about  him. 


Violet  K.  of  Cleveland,  Ohio. 
Is  Colleen  Moore  'high-hat?1  I 
never  noticed  it.  In  fact,  Colleen 
is  one  of  the  good  little  girl 
scouts  of  films,  both  on  and  off  the 
screen.  Colleen  was  born  Aug.  19,  1902, 
in  Port  Huron.  Mich.  She  has  brown  hair 
and  eyes  (one  blue  and  one  brown,  if  you 
must  know);  is  5  feet  3  inches  tall  and 
weighs  105  pounds.  Her  real  name  was 
Kathleen  Morrison  before  her  marriage  to 
John  McCormick.  Larry  Kent,  whose  real 
name  is  Henri  W.  Trumbull,  was  born 
Sept.  15,  1900.  on  shipboard  two  days  out 
of  Liverpool,  England.  He  is  5  feet  1 1 
inches  tall,  weighs  155  pounds  and  has 
brown  hair  and  gray  eyes. 

Sally  from  Fresno,  Cal.  I  give  special 
pains  to  all  new  questioners  so  where  will 
you  have  yours?    May  McAvoy  with  her 

4  feet  11  inches  and  Viola  Dana's  4  feet 
IIV2  inches  are  two  of  the  shortest  grown- 
ups in  pictures.  Alice  White  is  5  feet  2 
inches  and  Clara  Bow  is  5  feet  3%  inches 
tall.  Write  to  Gilbert  Roland  at  United 
Artists  Studios,  1041  No.  Formosa  Ave., 
Hollywood,  Cal.  Gilbert  plays  opposite 
Norma  Talmadge  in  "New  York  Nights." 

Adelaide  M.  of  Broo\lyn.  Don't  you 
worry  about  the  younger  generation — 
worry  makes  the  older  generation  older. 
Leatrice  Joy's  latest  release  is  "A  Most 
Immoral  Lady"  with  Walter  Pidgeon  and 
Montagu  Love  in  the  cast.  Leatrice  was 
born  Nov.  7,  1897,  in  New  Orleans,  La. 
She  has  black  hair,  brown  eyes,  is  5  feet 
2  inches  tall  and  weighs  125  pounds. 

A  Fan  in  Hollywood.  Seeing  the  stars 
as  they  are  in  real  life,  are  you?  No, 
don't  tell  me  you  saw  several  of  my  fav- 
orite actors  with  the  same  girl  twice — that 
is  too  much  for  one  pair  of  eyes;  there 
should  be  two  of  you.  Corinne  Griffith 
was  born  Nov.  25,  1898,  in  Texarkana, 
Ark.     She  has  brov/n  hair,  hazel  eyes,  is 

5  feet  6  inches  tall  and  weighs  118  pounds. 
Her  latest  release  is  "Lilies  of  the  Field." 
Mary  Astor  and  Gertrude  Astor  are  not 
related.  Cornelius  Keefe  was  born  July 
13,  1902,  in  Boston,  Mass.  He  has  black 
hair,  brown  eyes,  is  6  feet  1  inch  tall  and 
weighs  165  pounds.  . 


Momosa  from  Liverpool,  England.  I'm 
terribly  thrilled  over  your  good  wishes  for 
my  department — any  time  you  want  to  un- 
load another  lot,  I'm  ready  with  hands 
across  the  sea.  Pauline  Frederick's  latest 
picture  is  "The  Sacred  Flame"  with  Conrad 
Nagel,  Lila  Lee  and  Walter  Byron,  your 
fellow  countryman.  Esther  Ralston  is  the 
wife  of  George  Webb.  You  can  write  to 
her  at  Paramount  Studios,  5451  Marathon 
St.,  Hollywood,  Cal.,  and  they  will  forward 
your  letter. 

Mary  B.  P.  of  Fairmount,  W.  Va.  What 
do  I  do  in  my  off  moments,  if  any?  If 
any  is  right.  It's  a  great  secret  so  don't 
repeat  it  but  my  burning  ambition  is  to 
write  a  short  story — so  far,  the  longer  I 
write  the  shorter  the  story,  if  you  follow 
me  and  I  hope  you  won't.  Douglas  Fair- 
banks, Sr.,  is  45  years  old.  Conrad  Nagel 
is  3  3.  Adolphe  Menjou  is  40.  Clive 
Brook  is  38.  Lon  Chaney  is  40.  Harold 
Lloyd  is  36.  Ronald  Colman  is  39.  Jack 
Duffy  is  47.  Oliver  Hardy  of  the  co- 
starring  team  of  Laurel  and  Hardy  is  38 
and  Stan  Laurel  is  34  years  old. 

Caril  Louise  of  Fowler,  Cal.  We  still 
have  a  few  'dream  princes'  in  the  movies 
unattached.  There  are  Richard  Dix,  Ron- 
ald Colman,  Walter  Byron,  Lane  Chandler, 
Gary  Cooper  and  Jackie  Coogan.  Go  on 
and  dream,  don't  let  me  wake  you  up. 
Alice  Joyce  was  born  in  Kansas  City,  Mo. 
She  is  5  feet  7  inches  tall,  weighs  120 
pounds  and  has  brown  hair  and  hazel  eyes. 
She  is  the  wife  of  James  Regan  of  New 
York  City.  She  appears  in  "Song  o'  My 
Heart"  with  John  McCormack,  the  famous 
Irish  tenor,  in  a  singing  and  talking  Fox 
picture.  Dolores  and  Helene  Costello  were 
born  in  New  York  City  and  not  in  Spain 
or  Mexico. 

Geraldine  from  Cross  Cut,  Texas.  What 
is  considered  the  best  'Western'  film  to 
date?  I  don't  know,  do  you?  The  latest 
releases  of  the  following  stars  as  I  write  are: 
Clara  Bow,  "The  Saturday  Night  Kid"; 
Billie  Dove,  "The  Painted  Angel";  John 
Gilbert,  "His  Glorious  Night";  Colleen 
Moore,  "Footlights  and  Fools";  Joan  Craw- 
ford, "Untamed";  William  Haines,  "Navy 


SCREENLAND 

cASK 

By  Miss  Vee  Dee 

Miss  Vee  Dee  will  be  glad  to 
answer  any  questions  you  may 
care  to  ask  about  pictures  and 
picture  people.  If  you  wish  an 
answer  in  the  Magazine,  please 
be  patient  and  await  your  turn; 
but  if  you  prefer  a  personal 
reply,  please  enclose  a  stamped 
addressed  envelope.  Address: 
Miss  Vee  Dee,  Screenland 
Magazine,  45  West  45th  Street, 
New  York  City. 


Blues,"  and  Alice  White,  "The  Girl  from 
Woolworth's." 

Santy  and  Friend  of  'Worchester,  Mass. 
You  have  been  reading  my  department  a 
long  time,  yet  find  it  amusing.  There's  a 
real  compliment  and  a  couple  of  loud  cheers 
for  me  but  try  and  find  'em.  Rudolph 
Valentino  died  in  New  York  City  on  Aug. 
23,  1926.  Rex  Lease  was  born  Feb.  11, 
1903,  in  Central  City,  Va.  He  has  brown 
hair,  green  eyes,  is  5  feet  10  inches  tall 
and  weighs  150  pounds.  Matty  Kemp  was 
born  in  New  York  City  on  Sept.  10,  1907. 
He  is  5  feet  lOVs  inches  tall,  weighs  162 
pounds  and  has  brown  hair  and  eyes.  John 
Mack  Brown  is  25,  Richard  Arlen  is  30 
and  William  Haines  was  30  on  Jan.  1, 
1930. 

Helen  of  Ottawa,  Ont.    So  you're  a  poor 
wanderer   out   looking    for   addresses,  are 
-  (Continued  on  page  113) 


Clive  Brook  is  so  serious  because 
he  is  trying  to  figure  out  when 
he'll  have  time  to  answer  all  his 
fan  mail. 


for    June  1930 


105 


It  cleans 
the  crevices 
between  teeth: 


Between  the  teeth  ...  in  tiny  crevices  .  .  .  there's  where  de- 
caying food  collects.  Mere  surface  brushing  won't  dislodge 
these  impurities.  Colgate's  floods  them  out  ...  its  active, 
penetrating  foam  surges  into  the  hard-to-clean  places  where 
sluggish  pasty  dentifrices  won't  go  .  .  .  Dissolving  the  de- 
posits .  .  .  washing  them  away  .  .  .  cleansing  the  crevices 
thoroughly,  as  well  as  polishing  the  surfaces  brilliantly. 
Try  Colgate's  ...  it  is  approved  by  more  Dentists;  used 
by  more  people,  than  any  other  toothpaste  made. 


The  World's  Largest  Selling  Toothpaste 


106 


SCREENLAND 


Come  Into  the  Kitchen  with  Alice  White 


the  family,  they  turn  out  beautifully.  The 
dish  is  perfect.  But  let  me  make  it  for 
guests!  Then,  no  matter  how  carefully  I 
work  and  measure,  the  things  is  a  total 
failure. 

I  had  some  delicious  Italian  spaghetti  at 
one  of  the  Hollywood  cafes.  By  much 
wheedling  and  pleading,  I  got  the  recipe 
from  the  chef.  The  next  free  day  I  tried 
it  out.  It  was  lovely.  Sid  was  over  for 
dinner  and  praised  it  generously.  He  de- 
clared it  was  better  than  at  the  restaurant. 

The  next  time  I  had  guests  for  dinner, 
I  decided  to  make  this  dish.  Foolishly,  I 
had  boasted  about  how  I  could  cook  Italian 
spaghetti  to  these  people,  and  promised  them 
this  treat.  Arriving  home  late,  I  started 
cooking  immediately.  Very  carefully,  I 
measured  each  thing  and  watched  the  clock 
so  as  to  have  each  thing  correct. 

But  all  I  had  for  my  pains  was  the  fun- 
niest  tasting  mess  I  had  ever  seen.  I  was 
heartsick.  It  was  too  late  to  try  again. 
Besides,  it  was  impossible  because  I  had 
used  all  my  ingredients.  I  called  the 
restaurant  and  luck  was  with  me.  They 
were  serving  Italian  spaghetti  that  night. 
The  chef  laughed  at  my  predicament,  but 
kindly  sent  enough  spaghetti  over  to  feed 
an  army.  This  taught  me  one  thing — never 
to  try  to  cook  for  guests  myself,  unless 
I  had  time  and  materials  enough  to  try,  try 
again. 

I  suppose  it  depends  upon  how  you  have 
been  raised,  and  what  tastes  have  been 
developed  as  to  what  you  like  and  don't 


Continued  from  page  93 

like.  I  like  highly  seasoned  food.  Unless 
the  dish  is  well  seasoned,  or  has  a  sauce, 
I  can  hardly  eat  it.  We  have  always  had 
a  predominance  of  spicy  and  hot  foods. 
We  like  sauces,  touches  of  garlic  in  salad 
dressings,  and  meats  cooked  in  olive  oil 
and  seasoned  with  pepper  or  tobasco  sauce. 

Chili  and  frijoles,  tamales,  enchilades, 
raviolis,  and  dishes  like  that  are  my  favor- 
ites.  We  try  to  have  them  at  least  once 
a  week.  Of  course,  I  have  to  be  careful 
about  eating  too  much  rich  food.  I'm  not 
naturally  fat,  but  I  don't  care  to  take 
chances. 

I  have  given  my  favorite  recipes  and 
hope  that  the  readers  who  try  them  have 
more  luck  with  the  Italian  spaghetti  than 
I  did. 

SPICE  COOKIES 
iy2  cups  brown  sugar 
%  cup  butter 

1  cup  raisin,  seeded  and  chopped 

2  eggs 

2  teaspoons  milk 
1  teaspoon  soda 
1  teaspoon  cinnamon 
1  teaspoon  cloves 
1  teaspoon  nutmeg 

Enough  flour  to  make  a  smooth  dough. 
Cream  butter  and  sugar;  add  beaten  yolk 
of  eggs,  then  well-beaten  whites.  Add  milk, 
soda  and  spices,  then  add  flour  gradually, 
mixing  well  in  until  mixture  is  stiff  enough 
to  roll.  Bake  in  a  slightly  hotter  than 
medium  oven. 


CHILI  AND  BEANS 
2  lb.  coarsely  ground  beef 
Vz  lb.  onions,  chopped 
1  oz.  chili  powder. 
Fry  the  onions  in  fat  enough  to  cover 
the  bottom  of  the  pan,  put  meat  in,  and 
add   chili   powder.     Add   2   oz.   of  flour 
mixed  with  any  kind  of  broth  you  happen 
to  have.    Add  hot  water  until  the  mixture 
has  the  consistency  of  a  stew.    Cook  slowly 
until  the  meat  is  almost  done. 

Cook  1  lb.  of  kidney  beans  until  tender. 
Drain,  mix  with  chili  and  meat  and  let 
simmer  until  mixture  is  well  blended. 
RAVIOLI 
2  lb.  fresh  beef 
1  lb.  spinach  (cooked) 

1  medium  sized  onion 

2  lb.  flour 
4  eggs 

1  tablespoon  olive  oil 
A  pinch  of  salt. 

Braize  the  beef  until  as  done  as  a  regular 
roast.  Then  grind  through  meat  grinder. 
Grind  the  onion  by  itself  and  add  to  the 
meat.  Mix  in  enough  gravy  to  make  a 
thick  paste. 

Mix  the  flour,  eggs,  and  olive  oil  together 
and  add  enough  water  to  make  a  solid 
paste.  Add  salt  to  taste.  Roll  this  out  flat 
and  cut  into  portions  with  biscuit  cutter. 

Put  a  spoonful  of  meat  paste  on  each  por- 
tion and  cover  it  with  another  portion,  press- 
ing edges  together.  Put  in  a  pot  of  hot  boiling 
salt  water  for  1 5  minutes  over  a  slow  fire. 
Pour  hot  tomato  sauce  over  this  and  serve. 


The  Stage  in  Review  —  Continued  from  page  97 


staircase  Inez  drags  the  thoroughly  pranc- 
ing, soused  Danny. 

Roger  Pryor  and  Ethel  Intropedi  are  the 
leads,  Roger  doing  an  exceptionally  fine  bit 
as  the  boy,  and  Maidel  Turner  and  Jeffer- 
son de  Angelis  as  the  mother  and  lawyer 
piecing  out  perfectly. 

A  perfect  evening's  chortle.  There's  a 
quiet,  comic  little  picture  in  it  if  the  direc- 
tor will  lay  off  the  molasses. 

Flying  High 

George  White  put  on  "Flying  High,"  a 
musical  melange  of  aviation  monkeyshines, 
containing  Oscar  Shaw,  Grace  Brinkley, 
Peare  Osgood  and  Russ  Brown. 

Forget  all  that — for  there  is  one  Bert 
Lahr  in  the  show  who  is  the  craziest,  fun- 
niest, nuttiest,  daffiest,  monkey-faced  buf- 
foon I  have  ever  seen.  This  man  is  an 
original,  a  man  who  takes  you  back  to 
primitive  vulgarities  that  hew  down  our 
culture  and  civilization  to  the  lowest  strata. 
I  say  all  this  in  praise,  for  a  dose  of  Bert 
Lahring  every  once  in  a  while  is  good  for 
us. 

For  pure,  brainless,  wild,  hysterical,  belly- 
laughter  go  to  see  Bert  Lahr  in  "Flying 
High."    Here  is  vulgarity  raised  to  an  art. 

Those  We  Love 

Once  in  a  while  a  play  in  New  York 
makes  a  hit  and  goes  in  for  an  unexpected 
run.  And  sometimes  the  play  deserves 
the  luck.  Such  a  play  is  "Those  We 
Love,"  by  George  Abbott  and  S.  K. 
Lauren. 

George  Abbott  himself  does  the  lead,  and 
it  is  mainly  due  to  him  in  his  role  as  a 
husband  who  was  literally  pushed  by  a 
suspicious   wife   into   letting   his   foot  slip 


on  the  rose-leaf  of  infidelity  that  the  play 
gets  over.  It  has  also  other  things  to 
recommend  it:  the  characters  are  well 
limned,  and  while  there  are  abysms  of 
emptiness  here  and  there,  it  is  in  the  main 
a  well-cobbled  piece  of  work. 

It  all  takes  place  in  Westchester  county. 
He  is  a  writer.  She  writes  songs  down  in 
the  city.  They  are  really  in  love,  although 
married,  and  have  a  son.  The  vamp- 
woman  shows  up.  Author  shoos  her  away. 
Wife  is  convinced  the  thing  has  hap- 
pened; leaves  him.  She  repents,  returns 
to  him;  but  too  late,  for  as  he  had  the 
name,  he  really  grabbed  the  game.  The 
Family  Idea,  however,  wins  out  at  last, 
mainly  because  of  the  fine  performance  of 
Edwin  Phillips  as  the  son.  Mamma  and 
Daddy,  you  know! — and  certainly  papa  had 
a  right  to  slip.  Another  good  piece  of 
work  was  that  of  Armina  Marshall  as  the 
wife. 

"Those  We  Love"  sounds  real  and  is 
not  flagrant.     Solid  middle-class  food. 
Love,  Honor  and  Betray 

"Love,  Honor  and  Betray,"  a  cynical 
satire  by  a  Frenchman,  might  just  as  well- 
be  called  "Love,  Honor  and  Decay"  be- 
cause the  whole  action  takes  place  in  a 
cemetery  with  three  picture  flash-backs 
which  tell  us  why  three  men  who  all  loved 
one  woman  came  to  their  death.  They 
arise  from  their  graves  to  Spoon  River  the 
matter  over  to  the  audience. 

I  am  a  most  hardened  sinner,  a  cynic 
and  haven't  a  shred  of  delusion  or  illusion 
about  the  Unfair  Sex;  but  the  brutal  and 
chilling  cynicism  of  this  play  sent  shivers 
down  my  spine  and  froze  my  gizzards. 
The  only  thing  that  redeemed  it  was  the 


all-conquering  beauty  of  Alice  Brady  in 
her  beautiful  vampish  role.  No  wonder 
one  of  these  fellows  committed  suicide, 
another  fell  dead  of  apoplexy  and  the  third 
died  of  depleted  glands!  She  had  It  in  the 
Einstein  dimension. 

There  are  some  keen  remarks  in  the  dia- 
logue. The  idea  of  the  three  men  walking 
out  of  their  tombs  and  telling  their  stories 
to  one  another  Was  frightfully  laughable; 
but  the  finale,  the  vamp's  daughter  run- 
ning off  with  the  mother's  chauffeur  in  the 
cemetery  to  the  sardonic  laughter  of  the 
three  buried  love-saps,  made  us  put  on  our 
overcoats  and  furs  in  a  hurry.  A  terrific 
assault  on  sex-love,  truly;  but  is  it  Art? — as 
Ben  Turpin  once  asked  Buster  Keaton. 

But  see  La  Brady  in  her  gowns!  She 
can  act  better  than  she  did  in  this  clinic; 
but  she  can  never  dress  better  or  look  more 
glandular. 

The  Plutocrat 

Arthur  Goodrich  took  Booth  Tarking- 
ton's  novel,  "The  Plutocrat,"  a  somewhat 
sly  satire  on  an  American  millionaire 
abroad,  and  sold  the  idea  to  Mr.  and  Mrs. 
Charles  Coburn.  In  turn,  some  one  is 
going  to  sell  it  to  the  pictures,  and  it  will 
make,  with  good  dialogue,  much  mon. 

It  is  hardly  a  Coburn  play.  Anyhow, 
it's  all  about  a  Western  one  hundred  and 
one  percent  Babbitt  and  his  larynx-whist- 
ling wife  and  their  amorous  and  social  ad- 
ventures abroad.  It  is  farcical,  almost  Krazy 
Katish;  but  not  without  its  ha-has  and  coos 
and  gurgles. 

How  well  all  these  plays  are  done  now 
on  Broadway!  In  "The  Plutocrat"  there 
isn't  a  cough  in  the  carload  of  a  cast. 


for    June-  1930 

omen 


107 


w. 


In  dieting  for  the  fashionable  figure,  be  sure  your  diet  is  well  balanced  with  a  regular  supply  of  roughag 


the  whole 
world 
envies 


Alice  White 
First  Rational  Pictures,  Inc. 


Those  charming  women,  who  step  with 
equal  grace  from  the  severe  lines  of  sports 
clothes  into  the  new  and  alluringly  femi- 
nine  silhouettes!  How  attractive  they  are 
— combining  the  radiant  glow  of  health 
with  the  soft,  gentle  curves  of  the  new 
fashions.  .  .  . 

This  charm  of  a  smart  figure  is  one 
that  is  easy — actually  easy — for  millions 
of  women  to  achieve.  The  important 
thing  to  remember  is  that  the  diet  must  be 
wisely  and  safely  planned. 

Haven't  you  known  many  girls  who, 
after  dieting  a  few  days,  complained  of 
dizziness,  of  headaches,  of  listlessness?  Who 
frequently  lost  their  color  and  sometimes 
became  seriously  ill? 

The  trouble  is  that  most  re' 
ducing  diets  lack  roughage. 
Without  roughage,  improper 
elimination  inevitably  occurs. 
Its  poisons  sweep  through  the 
entire  system,  undermining 
health  and  destroying  beauty. 

Yet  it  is  easy  to  avoid  this 
danger.  Just  add  two  table- 
spoonfuls  of  Kellogg's  All- 
Bran  to  the  diet  daily.  All- 
Bran  is  not  fattening — yet  its 
abundant  bulk  keeps  the  entire 


RELIEVES  CONSTIPATION 

ALL-BRAN 


system   clean   of  all   poisonous  wastes. 

In  addition,  it  contains  iron  which  helps 
prevent  anemia  and  also  brings  the  glorious 
color  of  health  to  cheeks  and  Hps. 

Eat  Kellogg's  All-Bran  regularly  and 
avoid  the  unsatisfactory,  and  sometimes 
dangerous,  pills  and  drugs.  You  will  enjoy 
the  many  ways  it  can  be  eaten 
without  adding  many  calories. 
Soaked  in  fruit  juices,  with 
milk,  in  clear  soups,  on  salads. 
Cook  it  in  bran  muffins,  breads, 
omelettes.  In  these  foods,  im- 
portant vitamins  help  balance 
the  diet.  All-Bran  is  recom- 
mended by  dietitians. 

Always  ask  for  the  original 
All-Bran — in  the  red-and- 
green  package — made  by  Kel- 
logg in  Battle  Creek. 


SEND  FOR  THE  BOOKLET 

"Keep  Healthy  While  Tou 
Are  Dieting  to  Reduce''' 

It  contains  helpful  and  sane  counsel.  Women 
who  admire  beauty  and  fitness  and  who  want 
to  keep  figures  slim  and  fashionable  will  find  the 
suggested  menus  and  table  of  foods  for  dieting 
invaluable.  It  is  free  upon  request. 


Kellogg  Company 

Dept.  SC-6,  Battle  Creek,  Michigan 

Please  send  me  a  free  copy  of  your  booklet 
"KeepHealthy  While  You  Are  Dieting  toReduce." 

T^ame  

Address  . 


108 


SCREENLAND 


Can  Stars'  Voices  Be  Remodeled?  —  Continued  from  page  31 


to  learn  to  sing,  perhaps  on  the  screen, 
or  would  like  to  hear  your  screen  stars 
speak  or  sing  better,  the  first  thing  you 
should  do  is  to  disabuse  your  mind  of  the 
theory  that  any  deficiency  in  talking  pic 
tures  must  be  laid  to  the  reproducing 
apparatus  rather  than  to  the  voice  of  your 
favorite. 

That  is  wrong.  If  the  apparatus  is  good 
enough  to  reproduce  musical  instruments 
and  orchestras,  it  is  equally  good  to  repro- 
duce the  talking  or  singing  voice. 

Only  a  few  voices  register  well.  The 
vast  majority  are  not  pleasant  to  hear. 
And  that  is  due  -to  the  fact  that  the  voice 
is  improperly  produced. 

If  people  would  only  learn  to  sing  in 
their  mouths,  instead  of  trying  to  sing  be- 
hind their  noses,  and  in  other  curious  parts 
of  their  anatomy!  The  voice  must  be  in 
the  mouth.  Here,  with, a  clear  and  distinct 
articulation,  its  projection  will  be  facilitated 
by  the  fact  that  the  vibrations  travel  un- 
hampered from  the  mouth  to  the  micro- 
phone and  it  will  register  well. 

But  when  the  voice  is  produced  in  other 
parts  of  the  vocal  apparatus,  such  as  behind 
the  nose,  in  the  throat,  or  in  the  chest, 
due  to  the  fact  that  the  vibrations  have  to 
travel  a  longer  distance- to  reach  the  micro- 
phone and  due  to  the  interference  created 
by  the  organs  of  the  throat,  tongue,  palate, 
and  so  on,  the  vibrations  must  be  forced 


out  by  the  breath.  It  is  exactly  this  breath 
pressure  which  is  responsible  for  the  bad 
voice  production  and  the  muffled  articula- 
tion of  some  of  the  players.  May  your 
favorite  star  not  be  among  them! 

Because  I  have  proved  my  theory  so 
many  times,  I  am  going  to  Hollywood  with 
no  misgivings  but  rather  with  gratitude  that 
it  will  be  my  province  to  help  build  up 
the  voices  of  the  stars  whose  screen  person- 
alities have  given  pleasure  and  diversion  to 
millions,  month  after  month,  and  year  after 
year. 

I  am  sure  of  a  fair  amount  of  success 
because  the  stars  themselves  are  showing 
such  wonderful  spirit.  They  are  never  sat- 
isfied! Gloria  Swanson  after  her  lovely 
performance  in  "The  Trespasser"  came  to 
me  for  lessons.  She  was  to  sing  over  the 
radio,  and  even  after  her  experience  and 
great  success  was  terrified.  She  had  marvel- 
ous concentration;  and  in  two  weeks  the 
difference  in  her  voice  was  most  marked. 
She  made  her  radio  debut  with  glowing 
success.  But  even  then  she  wasn't  satisfied. 
She  is  still  intensely  absorbed  in  her  sing- 
ing. Although  she  used  to  sing  a  little, 
she  never  had  a  big  voice  and  she  never 
regarded  it  .seriously  urttil  talking  pictures 
came  along.  Now,  she  wants  to  become  a 
real  artist.  I  should  not  be  surprised  to 
see  her  in  opera  one  day.  She  has  great 
possibilities.  Her  voice  is  a  lyric  soprano 
with  a  dark  quality  which   is  very  rare. 


And  in  addition,  she  has  the  mental  and 
artistic  qualifications  so  necessary  to  real 
singing  success. 

In  Hollywood,  I  know  I  shall  be  happy 
for  my  time  will  be  placed  at  the  disposal 
of  some  of  the  greatest  stars  in  the  world. 
Just  which  individual  players  will  need  my 
attention  I  do  not  now  know.  But  since 
Metro's  stars  include  Greta  Garbo,  Marion 
Davies,  Norma  Shearer,  John  Gilbert,  Joan 
Crawford,  and  many  others,  I  feel  that  my 
work  will  be  more  interesting  than  ever 
before. 

I  shall  teach  the  screen  stars  just  as  I 
have  taught  dozens  of  stage  and  operatic 
stars.  The  principles  are  well  defined. 
Beautiful  speaking  and  beautiful  singing 
depend  upon  clarity.  First,  the  attention 
must  be  centered  on  correct  pronunciation. 
Second,  no  contortions  can  be  performed 
with  the  body  or  the  muscles.  Third,  the 
words  alone  must  express  the  emotions,  the 
real  quality  comes  from  the  brain  and  the 
soul. 

There  can  be  no  shifting  from  this 
ground.  No  changing  of  principles.  One 
of  the  greatest  musicians  and  composers 
who  ever  lived  —  Richard  Wagner  —  said: 
"In  art,  he  who  compromises  will  soon  dis- 
appear." That  is  the  fibre  of  my  belief. 
And  that  is  the  tenacious  quality  which  I 
shall  hand  down  to  my  pupils  so  long  as 
I  live  and  breathe. 


Mrs.  Oakie's  Little  Boy,  Jack  — continued  from  page  n 

one  side  of  a  huge  clothes  basket  full  of 
doughnuts.  'My  lands,'  I  said,  'what  are 
all  those  for?  I'm  sure  we'll  never  use 
them!'  'Won't  we?'  said  the  boy's  mother, 
'Jack  has  asked  all  the  boys  his  size  in 
the  town  to  the  party.'  And  when  the 
time  came,  the  hill,  where  we  lived,  was 
covered  with  boys.  There  must  have  been 
250  little  boys,  all  of  whom  Jack  had 
measured  with  his  height  and  asked  to  his 
party.  You  never  saw  such  a  variety  of 
boys  in  your  life. 

"On  Sundays,  Jack  used  to  sing  solos 
in  the  church.  He  had  a  beautiful  soprano 
voice.  One  day,  he  was  to  sing  Onward 
Christian  Soldiers.  At  the  last  line,  'where 
duty  calls  or  danger,  be  never  wanting 
there,'  Jack  sang  right  out,  'be  never  wait- 
ing there'  with  a  great  big  wink  to  the 
choir. 

"When  Jack  was  fourteen  years  old,  his 
father  died.  I  was  given  a  position  in 
Scudder's  School  for  Girls  in  New  York 
and,  of  course,  I  took  the  children  with 
me.  I  was  ambitious  and  learned  about 
politics.  My  main  idea  was  to  make  Jack 
a  politician.  I  wanted  him  someday  to  be 
the  Governor  of  New  York  State.  'If  you 
only  listen  to  me,  Lewis,'  I  used  to  say, 
'I  know  how  to  make  you  the  Governor 
of  New  York.'  One  time,  he  and  his 
chum,  a  member  of  the  Walter  Hagen 
family,  went  up  to  Albany  on  a  trip  to 
the  state  capitol.  He  remembered  my  wish 
for  him  to  be  Governor  and  wrote  me  a 
note  while  he  was  sitting  in  the  Governor's 
chair.  'Dear  Mother,  I'm  doing  the  best  I 
can  for  you.  I'm  sitting  in  the  Governor's 
chair.' 

"Lewis  sang  every  Sunday  for  four  years 
in  the  All  Angels'  Choir  in  New  York 
City.  He  has  a  very  good  voice  now. 
But  he  never  sings  out.  After  I  saw  'Hit 
The  Deck,'  I  said,  'Why  didn't  you  sing 
good,  when  they  let  you?'    'Why,  Ev,'  he 


William  Jennings  Bryan  and  heard  a  lec- 
turer say  that  the  uncrowned  queens  of 
America  were  the  mothers  of  men.  From 
that  time  until  Jack  was  born,  Ev  thought 
it  would  be  fine  to  have  a  boy  and  en- 
courage him  to  become  somebody. 

So  Jack  Oakie,  little  Lewis  Offield,  was 
born.  "I  don't  expect  you  to  believe  this," 
said  Ev,  the  other  day,  "but  Lewis  never 
cried  when  he  was  a  baby.  He  was  just 
so  good!  Women  used  to  stop  me  on  the 
street  and  kiss  him  and  love  him."  And 
Ev  showed  disgust  for  what  she  thought 
were  silly  old  women. 

Remember  this,  Ev  is  a  very  intelligent 
lady.  She's  a  psychologist.  She  gave  her 
children  the  happiest  home  any  husky 
American  children  ever  had. 

"My  husband,"  said  Ev,  "didn't  care 
what  Jack  did.  And  I  didn't.  Jack  was 
always  happy.  No  matter  what  the  chil- 
dren did,  we  thought  it  was  grand.  You 
know,  we  never  whipped  Jack.  That's 
scientific  training.  And  I  never  thought 
he  was  bad.  No,  he  was  a  funny  little 
kid  with  a  lot  of  devil  and  mischief  in  him 
— but  he  wasn't  bad." 

In  one  of  Jack's  scrap  books  is  an  ar- 
ticle written  by  one  of  the  school  girls 
about  a  party  he  attended.  Part  of  the 
article  reads:  "And  that  little  Lewis 
Offield  (Jack)  sang  a  song  and  you'd  never 
think  to  hear  him  sing  that  he  was  so 
bad.  He  was  just  terrible.  All  the  time 
he  was  singing,  his  mother,  who  accom- 
panied him  on  the  piano,  watched  him 
because  you  never  knew  what  he  would 
do.  He  was  the  boy  who  took  several 
other  boys  to  Mrs.  McDonald's  big  new 
bathtub.  He  filled  it  to  the  top  with  water 
and  then  they  all  jumped  in  and  began 
swimming.  The  water  ran  all  over  the 
floor." 

Then  Ev  remembered  Jack's  circus. 
"When    Jack   was    eight   years   old,"  she 


said,  "a  circus  came  to  town.  From  then 
on,  nothing  would  do  but  Jack  must  have 
a  circus.  We  had  given  his  sister  music 
lessons  so  we  thought  we'd  give  Jack  a  lot 
of  fun  and  let  him  have  a  donkey  and  a 
$50  tent,  in  which  to  hold  the  circus. 
Well,  he  had  the  donkey  and  clowns  and 
seats  and  everything.  On  the  night  of  the 
performance,  all  the  parents  around  the 
neighborhood  came.  When  we  walked,  we 
noticed  that  we  were  stepping  into  some 
white  powder  that  was  covering  the  ground. 
Here,  Jack  had  taken  our  new  barrel  of 
soap  powder  from  the  cellar  and  covered 
the  ground  to  make  it  look  like  sawdust. 
Land's  sake,  the  stuff  took  all  the  color 
off  my  shoes  and  I  slid  all  over  the  street 
going  home!  But  I  didn't  care.  Jack  was 
happy.  You  see,  his  father  and  I  never 
cared  very  much  what  the  children  did  just 
so  they  were  happy.  We  kept  the  donkey 
for  several  years.  Four  or  five  children 
could  ride  him  at  once. 

"Jack  was  the  most  persistent  boy  I  ever 
heard  of.  Once,  I  was  invited  to  a 
woman's  party.  Jack  asked  if  there  was 
going  to  be  any  ice  cream  and  cake.  I 
told  him  yes,  but  that  he  .couldn't  come. 
When  I  arrived,  I  told  all  the  women  that 
Jack  might  try  to  come  but  for  them  not 
to  let  him  in.  Well,  in  the  middle  of  the 
afternoon,  here  he  comes — all  dressed  up 
in  bow  tie  and  everything.  He  just  put 
his  thumb  on  the  doorbell  and  kept  it  there 
fifteen  or  twenty  minutes  until  we  had  to 
let  him  in.  The  ladies  took  him  out  in 
•the  kitchen,  gave  him  ice  cream  and  he 
left  immediately. 

"On  his  tenth  birthday  we  said  Jack 
could  have  a  birthday  party.  Some  boy 
around  the  corner  had  his  birthday  the 
same  day,  so  Jack  and  he  were  going  to 
have  a  double  party  in  our  garden.  I  had 
two  large  cakes.  The  other  boy's  mother 
came  with  her  maid.     Each  was  carrying 


for    June     19  3  0 


109 


Select  your  theatre 


Hear  talking  pictures  that  sound  NATURAL 
.  ...  in  theatres  which  show  this  sign, 


SOU  N  bl^3,SYSTE  n 

Smmd  Pictures  at  ffteir  Best! 


Nowadays  it  is  not  enough  for  a  theatre 
to  give  you  the  best  talking  pictures.  It 
must  reproduce  dialogue  and  other  sound 
with  utmost  clearness  —  in  short,  it  must 
pass  your  EAR  TEST. 

Go  to  theatres  equipped  by  Western 
Electric  and  you  make  sure  of  ear  entertain- 
ment. This  apparatus  gives  its  satisfying 


Westerti 


SOUND 


results  because  it  was  made  by  the  world's 
leading  experts  in  Sound  transmission,  the 
makers  of  your  telephone. 

Look  for  the  Western  Electric  sign  in 
the  lobby.  Enjoy  the  voices  of  your  fa- 
vorite stars  reproduced  with  full  justice  to 
their  personality  and  art.  Hear  talking  pic- 
tures at  their  best. 


\Electric 


SYSTEM 

il 


Northern  Electric  in  Canada 


MADE 
BY  THE  MAKERS 
OF  YOUR 
TELEPHONE 


110 


SCREENLAND 


said,  'I  was  a  gob.  You  didn't  think  I 
was  going  to  be  an  opera  singer.  Just  wait, 
they  haven't  given  me  Tibbett's  part  yet.' 

"After  his  graduation  from  high  school, 
Lewis  was  a  telephone  clerk  in  the  stock 
exchange.  They  liked  him  there.  He  was 
promoted  and  before  he  left,  Mr.  Stearns 
offered  to  loan  me  $80,000  to  buy  Jack  a 
seat  on  the  exchange.  But  Jack  wanted  to 
go  on  the  stage.  So  he  turned  it  down. 
The  boy  who  took  the  seat  paid  back  the 
$80,000  in  the  first  two  years. 

"You  have  read  how  Jack  performed  in 
amateur  theatricals  and  went  into  vaude- 
ville with  Lulu  McConnell.  I  really  don't 
know  exactly  how  he  happened  to  go  to 
Hollywood.  Except  he  wrote  me  that  he 
was  going  to  take  a  boat  ride  to  California. 
He  was  kept  busy  after  he  came  west. 

"Jack   has  a   sister,   Sally,  Mrs.   G.  A. 


Lindbergh,  in  New  York.  You  know,  he 
says  hello  to  her  every  time  he  sings  or 
talks  over  the  radio.  And  she  hears  it, 
too.  She's  married  to  a  tall  Swede  and 
they  have  two  blonde  children.  Jack  often 
used  to  go  to  their  house  in  New  York 
for  dinner. 

"When  Jack's  first  big  picture.  'The 
Fleet's  In,'  played  at  the  Paramount  Theater 
in  New  York,  the  girl  at  the  window  knew 
Sally  was  Jack's  sister  and  let  her  take  the 
two  children  to  the  press  row.  When  the 
little  girl  saw  Jack  on  the  screen,  she  'rose 
out  of  her  seat  and  asked,  'Is  Uncle  Jack 
going  home  to  dinner  with  us  tonight?' 
'No,  sh!,'  said  Sally,  'He's  in  the  movies 
now.'  'Well,'  said  the  little  girl,  'when 
you're  in  the  movies,  how  can  you  get  out 
of  the  movies?'  'Listen,  little  girl,'  said  a 
reporter  next  to  her,  'it's  plenty  easy  to  get 


out  of  the  movies.'  " 

Ev  lives  in  her  bungalow  now  and  clips 
her  papers.  She  goes  down  the  boulevard 
each  day  and  gets  the  new  magazines. 
She  laughed  a  lot  about  a  theater  advertise- 
ment for  "Sweetie"  in  Portland.  It  read, 
"Jolson,  go  back  in  your  corner,  here  comes 
Oakie."  And  Ev's  eyes  twinkled  with 
amazement  at  the  big  lettering.  "You  see, 
it  wasn't  a  friend  who  wrote  the  ad,  be- 
cause we  haven't  any  friends  in  Portland." 

Every  evening  Jack  calls  his  mother  at 
six  o'clock  on  the  telephone  and  tells  her 
whether  or  not  he  has  to  work.  Every 
free  evening  he  takes  her  out  to  dinner. 

Ev  likes  her  Jack.  And  she's  okay  with 
him.  The  feeling  is  sort  of  mutual.  She 
says  he  was  never  bad — just  a  boy.  She 
thinks  he  is  wise  and  lucky.  And  Mrs. 
Evelyn  Offield.  as  usual,  is  right. 


Elsie  Janis  Now  —  Continued  from  page  29 


had  seen  an  opportunity.  She  and  Her 
Gang  leased  a  theater  and  offered  New 
York  an  unpretentious,  intimate,  gay,  lilting, 
friendly  'little'  show  that  was  an  immediate 
hit. 

Why  not  the  same  idea  for  the  screen? — 
she  reasoned. 

It  was  at  that  moment  that  "Paramount 
On  Parade"  was  incepted. 

For  eight  months,  Elsie  Janis  gave  super- 
vision to  the  assembling  of  Paramount's 
distinctly  new-type  talking  screen  presenta- 
tion. 

In  her  work  she  had  full  command  of 
every  resource  available  in  the  great  motion 
picture  production  plant.  Writers,  direc- 
tors, composers,  artists  as  well  as  players 
in  almost  any  number  were  hers  to  build 
with.  She  built  with  the  unerring  shrewd- 
ness that  years  of  experience  in  every 
branch  of  stagecraft  had  given  her. 

In  addition  . to  her  work  as  general  super- 
visor, working  with  Albert  Kaufman,  an 
experienced  studio  executive,  Elsie  Janis 
served  as  director,  dialogue  writer,  song 
writer  and  set  designer.  Two  of  the  num- 
bers in  "Paramount  On  Parade"  (there  will 
be  twenty  in  all)  were  directed  by  her. 
She,  with  Jack  King,  a  composer,  wrote 
three  of  the  ten  new  hit  songs  that  are 
sung.  She  sketched  in  advance  the  plans 
for  several  of  the  sets  against  which  the 
various  action  is  played  and  from  her  sug- 
gestion the  artists  in  the  department  of  set 
design  drew  up  finished  plans. 

It  has  been  the  most  fascinating  work 
of  her  life,  she  declares. 

"Imagine  the  thrill  of  building  a  new- 
type  revue  with  thirty-five  famous  stars  as 
a  cast!"  she  said.  "On  the  stage,  as  the 
general  rule,  we  have  but  a  few  box-office 
'names'  to  work  with.  Likewise,  in  the 
theater,  we  retain  one  composer,  one  lyric 
writer,  to  prepare  the  musical  score.  Here 
at  the  Paramount  studios  we  have  the  choice 
of  the  best  works  of  several  composers, 
and  the  privilege  to  choose  from  the  best 
works  of  a  score  of  trained  writers.  Making 
'Paramount  On  Parade'  has  been  a  matter 
of  careful  selection  rather  than  a  matter 
of  searching  for  material  and  talent." 

Because  of  this,  her  first  real  experience 
in  film  production,  Elsie  Janis  feels  that 
the  balance  of  her  career  will  be  devoted 
to  Hollywood  and  its  studios.  Although 
she  is  repeatedly  being  urged  to  return 
to  the  stage,  she  finds  in  her  new  work 
the  utmost  satisfaction.  To  her,  the  real 
future  of  the  theater  is  now  in  the  field 
of  talking,  musical,  films. 

The  truth  of  this  is  pointed  out  by  her 
in  the   fact  that  in  Hollywood   now  are 


gathered  some  of  the  greatest  figures  of 
the  theater.  Maurice  Chevalier,  with  whom 
she  appeared  in  London  in  "Hello  Amer- 
ica," Chevalier's  first  appearance  on  the 
English-speaking  stage,  is  prominently  fea- 
tured in  "Paramount  On  Parade."  Another 
great  stage  artist  with  whom  Miss  Janis 
once  starred  is  Leon  Errol.  She  played 
with  him  throughout  the  run  of  "The 
Century  Girl"  in  New  York.  Errol,  too, 
is  in  "Paramount  On  Parade." 

Miss  Janis  feels  that  her  work  with  Maur- 
ice Chevalier  was  the  most  interesting  .part 
of  her  new  duties.  He,  to  her,  had  always 
represented  the  epitome  of  perfection  in  the 
deft  humor  of  musical  comedy  and  the 
concert  stage. 

"Maurice  Chevalier  is  a  true  artist,"  says 
Miss  Janis.  "He  possesses,  to  the  fullest 
possible  extent,  that  spark  of  personality, 
ingratiating  charm  and  friendly  spirit  which 
enables  a  player  to  reach  his  audience. 
That  is  the  'secret'  of  his  success.  He 
reaches  across  the  footlights  and  gathers 
the  audience  into  his  arms;  plays  directly 
to  them,  and  they  love  him  for  it." 

It  is  this  same  spirit  of  intimacy  and 
friendliness  that  Miss  Janis  attempted  to 
capture  throughout  all  of  the  many  num- 
bers in  "Paramount  On  Parade."  She  ar- 
ranged it  so  that  Richard  Arlen,  George 
Bancroft,  Clara  Bow,  Evelyn  Brent,  Clive 
Brook,  Nancy  Carroll,  Ruth  Chatterton, 
Gary  Cooper,  Skeet  Gallagher,  Harry 
Green,  Helen  Kane,  Dennis  King,  Jack 
Oakie,  Zelma  O'Neal,  William  Powell, 
Charles  Rogers  and  the  more  than  thirty 
others  in  the  imposing  cast  should  be  per- 
mitted to  step  off  the  screen,  to  get  close 
to  those  'out  front'  who  came  to  be  en- 
tertained. 

It  was  'Her  Gang'  again. 

Elsie  Janis'  life  as  well  as  her  present 
work  has  been  interesting. 

She  was  born  in  Columbus,  Ohio,  forty- 
one  years  ago.  From  earliest  infancy,  ac- 
cording to  her  mother,  who  now  is  with 
her  in  Hollywood,  Elsie  gave  evidence  of 
her  genius  for  pantomime  and  mimicry 
which  in  later  life  carried  her  to  the  top 
in  her  profession. 

One  of  her  earliest  recollections  is  mimic- 
ing  a  guest  in  her  mother's  home  and 
receiving  for  her  effort  a  resounding 
spanking.  This  guest  was  a  woman  always 
complaining  of  her  ills  in  a  thin,  weak 
little  voice  that  was  annoying  at  least  to 
the  six-year-old  Elsie.  One  afternoon, 
when  this  woman  was  at  her  home,  Elsie 
retired  to  her  bedroom,  practised  before 
the  mirror  for  a  short  time,  and  returned 


to  the  parlor  with  an  impersonation  that 
none  could  fail  to  mistake. 

It  was  at  the  age  of  eight  years  that 
Elsie  Janis  made  her  first  appearance  on 
the  stage.  She  played  the  part  of  a  little 
boy  in  "The  Charity  Ball,"  a  popular  play 
of  the  day.  When  eleven  years  old,  she 
made  her  New  York  debut  as  "Little  Elsie" 
in  vaudeville  at  the  Casino  Theater  Roof 
Garden  under  the  management  of  E.  E. 
Rice.  During  the  next  three  years,  she 
toured  all  over  the  United  States  and  be- 
came the  best-known  child  actress  of  that 
period.  Her  work  was  to  impersonate  the 
famous  stage  stars  of  the  day. 

Her  first  great  success  came  in  New 
York  in  the  summer  of  1905,  when  she 
appeared  in  "When  We  Were  Forty  One" 
at  the  New  York  Theater  Roof  Garden. 
In  this  play,  her  specialty  of  impersonating 
the  great  contemporary  stage  stars  created 
quite  a  furor  and  she  became  an  established 
star. 

During  ensuing  seasons,  Elsie  Janis  was 
presented  in:  "The  Vanderbilt  Cup,"  "The 
Hoyden,"  "The  Fair  Co-Ed,"  "The  Slim 
Princess,"  "A  Star  For  A  Night"  (which 
was  written  by  herself),  "The  Lady  of 
the  Slipper,"  "The  Passing  Show,"  "Miss 
Information,"  "The  Century  Girl,"  and 
many  others.  One  of  these  'many  others' 
which  perhaps  should  be  mentioned  was 
"It's  All  Wrong,"  of  which  she  was  part- 
author  and  composer.  It  was  in  September 
of  1918  that  she  appeared  with  Chevalier 
in  "Hello  America"  in  London;  that  being 
sometime  following  his  discharge  from  the 
French  army  because  of  wounds  which  had 
left  him  incapacitated  for  further  military 
service. 

It  was  after  the  war  that  Miss  Janis 
became  producer  of  her  own  shows,  a  work 
she  followed  with  such  intensity  of  effort 
that  it  brought  about  her  eventual  break- 
down and  temporary  retirement  from  the 
stage. 

The  stage,  however,  was  never  the  extent 
of  Elsie  Janis'  full  activity.  She  has,  in 
addition  during  her  career,  written  almost 
one  hundred  published  song  successes,  sev- 
eral plays,  several  librettos  for  musical 
shows,  many  short  stories  in  collaboration 
with  Gene  Markey,  and  has  played  in  mo- 
tion pictures.  She  once  was  starred  by 
the  Hobart  Bosworth  company  in  a  picture, 
"Betty  In  Search  of  a  Thrill." 

In  appearance,  the  Elsie  Janis  of  today 
is  still  the  Elsie  Janis  of  "The  Slim  Prin- 
cess" and  "The  Century  Girl,"  two  of 
her  greatest  hits.  The  passing  years  have 
left  little  mark.  Her  smile  is  the  smile 
of  a  youthful  heart,  her  eyes  flash  with 


for    June  1930 


111 


What  infinite  relief  ( 

to  know  that 
Kotex  deodorizes 


ready  wit;  she  is  alert  to  the  times  and, 
above  all,  extremely  happy.  In  her  film 
work,  she  has  carried  through  with  the  en- 
thusiasm  of  a  young  girl  attending  her 
first  party,  and  this  enthusiasm  has  been 
transferred  to  everyone  whom  she  contacted. 
She  has  the  faculty  for  inspiring  leadership 
and  Hollywood  is  elated  that  she  has  chosen 
to  remain. 


Mei  Lan-Fang 

Continued  from  page  5  5 

of  China. 

At  seven,  young  Mei  had  mastered  music 
and  song.  At  twelve,  he  made  his  debut 
as  a  tan,  or  impersonator  of  female  roles. 
Since  then  he  has  become  famed  through- 
out the  five  hundred  millions  of  people 
who  inhabit  China  and  Japan.  He  is  the 
only  actor  in  present-day  China  whose  ap- 
pearance on  any  stage  in  any  part  of  the 
country  at  any  season  of  the  year  is  hailed 
invariably  by  a  capacity  audience. 

For  some  years,  Lan-Fang  has  borne  the 
honor  of  being  'Foremost  of  the  Pear 
Orchard' — which  is  equivalent  to  saying  he 
is  China's  foremost  actor.  This  name  is 
derived  from  the  fact  that  the  Imperial 
Troupe  during  the  golden  age  of  Chinese 
art,  under  Emperor  Ming  Huang,  were 
called  'Disciples  of  the  Pear  Orchard'  be- 
cause they  performed  in  a  palace  sur- 
rounded by  pear  trees. 

Mr.  Mei  is  married  and  has  four  chil- 
dren, three  boys  and  a  girl.  He  married 
a  young  and  beautiful  actress  formerly  on 
the  stage  in  Peking. 

Mei  is  said  to  be  fond  of  taking  watches 
apart,  playing  American  phonographs  un- 
til his  friends  take  the  records  away  in 
self  defense,  and  he  likes  to  walk  in  his 
garden  in  the  early  morning  hours. 

This  great  Chinese  actor  is  well-known 
as  a  painter  of  considerable  ability,  having 
a  special  section  devoted  to  his  pictures  at 
a  recent  Japanese  Art  exhibition.  Lan- 
Fang  is  extremely  interested  in  biology, 
entomology,  as  well  as  electricity  and  ma- 
chinery. His  collection  of  ancient  manu- 
scripts and  old  treatises  on  music  and  the 
dance  is  probably  the  most  extensive  in 
China.  He  is  also  an  intensely  social  per- 
son and  at  his  beautiful  home  entertains 
many  famous  Europeans  and  Americans. 

"I  wish  very  much  to  learn  your  art 
and  to  take  it  back  to  China  with  me," 
Mr.  Mei  said  in  conclusion.  "I  love  your 
energetic  people,  your  excellent  food,  and 
the  touching  negro  spirituals.  But  the 
speed — the  speed  makes  me  feel  lost. 
When  I  go  into  a  subway  I  feel  as  if  the 
world  were  being  destroyed  about  my 
helpless  ears.  I  am  afraid  I  could  not  re- 
main permanently  in  such  a  hurrying  city. 
I  am  used  to  the  country,  to  gardens  and 
quiet  spots.  And  it  is  there  in  silence 
that  I  prepare  myself  best  for  my  work." 
.  i  j  . 

Why  I  Spend  $250,000* 

Continued  from  page  34 
With  all  these  luxuries — which  to  a 
screen  star  are  necessities — you  can  very 
well  see  how  she  can  easily  budget  her  per- 
sonal appearance  at  the  two  hundred  and 
fifty  thousand  dollar  a  year  mark  without 
overdoing  it. 

But  even  to  me,  a  quarter  of  a  million 
dollars  for  clothing  in  one  year  for  any 
one  woman  seems  wanton  extravagance. 
Yet,  if  that  woman  is  a  motion  picture  star 
who  is  trying  to  bring  romance  to  one 
hundred  million  people  every  seven  days, 
do  you  think  the  cost  is  too  much?  I 


Kotex  stays  soft;  it  is  fashioned 
to  fit;  it  is  disposable  .  .  .  and  it 
deodorizes  a  complete,  safe  way. 

DAINTINESS  makes  one  impor- 
tant demand  which  some  women 
overlook.  And  Kotex  answers  that  de- 
mand. It  deodorizes,  by  a  special  proc- 
ess, as  it  is  worn.  You've  no  idea  what 
a  relief  it  is ! 

And  Kotex  gives  you — too — the 
relief  that  comes  with  safe  protection. 
It  is  filled,  you  know,  with  Cellucotton 
(not  cotton)  absorbent  wadding.  This 
is  a  cellulose  substance  which,  for  sani- 
tary purposes,  fulfills  the  same  function 
as  cotton  but  with  5  times  the  absorbency. 

Used  in  leading  hospitals 
85%.  of  America's  leading  hospitals 
now  use  the  very  same  absorbent  used 
in  Kotex,  so  its  supetiority  and  safety 
are  unquestioned  for  your  use. 

Kotex  is  never  bulky  and  uncomfort- 
able, because  it  is  fashioned  in  a  way 
that  eliminates  bulk  and  makes  the  pad 
inconspicuous  under  the  closest  fitting 
frocks.  What  a  difference  that  makes ! 

Kotex  gives  lasting  softness 
It  is  not  only  soft  to  feel,  but  soft  to 
wear.  And  that  softness  lasts — it  doesn't 
pack  into  chafing  hardness.  Its  absor- 
bent filler  is  light,  cool,  dainty. 


Once  you  use  it,  you'll  find  it  indis- 
pensable. There  are  many  reasons  why — 
and  one  is  the  fact  that  it  is  so  easily 
disposed  of.  That  fact  alone  has  changed 
the  hygienic  habits  of  millions  of  women 
the  world  over. 

Kotex  Company,  Chicago,  Illinois. 

PI]IIIIIIII!I!IIII]IIII[!IIII1!IIIIIII!1!III!!II[|!III11IIII!IW 

SAFE,  SECURE  ...  | 

1      1    Keeps  your  mind  at  ease.  g 

|  2  Kotex  is  soft  ,  .  .  Not  a  deceptive  soft-  1 
ness,  that  soon  packs  into  chafing  hard-  1 
ness.  But  a  delicate,  lasting  softness. 

|  X  The  Kotex  filler  isfar  lighter  andcooler  | 
g  than  cotton,  yet  absorbs  5  times  as  much.  g 

I  4.  In  hospitals  .  .  .The  Kotex  absorbent  I 
is  the  identical  material  used  by  surgeons  g 
in  855»  of  the  country's  leading  hospitals.  1 

1  5  Deodorizes,  safely,  thoroughly,  by  a  § 
=  special  process.  g 

I      6    Disposable,  instantly,  completely.  1 

Regular  Kotex— 45c  for  12  1 
Kotex  Super-Size— 65c  for  12 

g  Or  singly  in  vending  cabinets  through  g 

If  West  Disinfecting  Co.  g 

1  Ask  to  see  the  KOTEX  BELT  and  I 
g  KOTEX  SANITARY  APRON  at  any  g 
=         drug,  dry  goods  or  department  store.  g 

iiiiiiiiiiiiiiiiiiiaiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiM 

K  O  T  e  X 

The  New  Sanitary  Pad  which  deodorizes 


112 


SCREENLAND 


Louis  Bromfield's  Hollywood  Impressions 

Continued  from  page  27 


movies.  Yes!  And  I  would  have  no  feeling 
about  making  changes  in  them.  I  realize  this 
would  be  necessary.  If  they  were  to  be 
made  into  plays  for  the  stage,  changes 
would  be  made.  That  would  be  expected 
because  they  are  different  mediums.  But 
I  think  that  in  the  end  the  best  pictures 
will  be  made  not  from  adaptations  but  from 
original  stories  written  for  the  screen.  Be- 
cause then  you  are  writing  directly  for 
your  medium  and  can  take  into  consider- 
ation the  technique  of  that  medium. 

I  am  now  working  on  a  story  for  Evelyn 
Laye.  This  young  English  actress  should 
be  a  sensation  in  the  talkies.  She  has 
everything!  She  is  beautiful,  has  a  lovely 
voice,  and  is  a  splendid  actress.  Of  course, 
it  has  been  difficult  to  determine  on  just 
the  right  story  for  her — but  we  hope  to 
have  it  finished  soon,  so  that  she  can  begin 
work  on  it  as  soon  as  she  returns  from  her 
vacation  in  England  which  will  be  about 
the  first  of  July.  Rudolph  Friml  will  do 
the  music. 

After  that,  I'll  probably  do  a  story  for 
Ronald  Colman. 

I  expect  to  help  with  the  direction  of 
the  pictures.  Not  the  technical  part,  ot 
course.  But  it  is  one  of  the  policies  here 
and  a  very  fair  one,  because,  after  all,  an 
author  knows  better  than  anyone  else  the 


most  important  occasion  of  his  life.  Inci- 
dentally, Mrs.  Whiting  and  her  daughter- 
in-law  Joan  are  great  pals. 

Claire  Luce,  who  tells  us  she  is  consider- 
ering  offers  to  make  talking  pictures,  is  one 
of  the  most  glamourous  personalities  I  have 
ever  met. 

You  know  that  the  golden-haired  Claire 
used  to  be  a  Follies  girl.  But  she  is  far 
above  the  average  type.  Despite  the  fact 
that  she  is  married  to  an  exceedingly 
wealthy  young  New  Yorker,  Miss  Luce 
has  kept  persistently  at  her  career.  Only 
last  year  she  scored  a  tremendous  success 
in  "Burlesque"  in  London,  and  returned 
to  America  where  she  played  in  "Scarlet 
Pages,"  receiving  fine  notices  from  many 
of  our  hard-boiled  New  York  critics. 

Miss  Luce  is  an  unusual  woman  in  many 
ways.  Born  in  extremely  humble  circum- 
stances, she  has  worked  her  way  to  the 
top.  And  now  with  the  world  at  her  feet, 
she  still  looks  ahead. 

Strictly  speaking,  Claire  Luce  is  piquant 
rather  than  beautiful,  but  she  has  a  dis- 
tinction of  appearance  worthy  of  an  em- 
press. She  is  a  fine  conversationalist,  a 
good  linguist,  and  possesses  a  more  than 
surface  knowledge  of  music,  politics,  art, 
and  architecture.  It  seems  to  me  that  both 
socially  and  professionally,  there  are  few 
heights  to  which  her  talent,  her  appearance, 
and  her  personality  do  not  entitle  her  to 
aspire.  ^  ■ 

Is  Adolphe  Menjou  going  to  stay  on 
this  side  or  will  he  return  to  France?  This 
is  the  question  which  is  agitating  all  the 
fans  who  love  his  sophisticated,  man-of- 
the-world  personality.     We  hope  he  stays 


effect  he  has  imagined.  I  understand  Fannie 
Hurst  was  pleased  with  the  way  they  han- 
dled "Lummox"  and  she  worked  closely 
with  Herbert  Brenon,  the  director. 

They  say  the  movies  were  still  in  their 
infancy  when  the  talking  pictures  came 
along.  Now.  I  believe  they  will  virtually 
have  to  begin  all  over  again.  Everything 
changes  so  rapidly.  In  two  years  more, 
great  strides  will  have  been  made  in  the 
technical  side  of  the  talkies. 

It's  quite  true  that  America  leads  the 
field  in  the  film  world.  The  influence  of 
American  pictures  abroad  is  colossal.  There 
are  practically  no  stars  of  importance  in 
foreign  films,  that  is,  with  any  great  fol- 
lowing. They  produce  some  excellent  films 
in  Germany,  but  they  have  no  stars  who 
are  as  popular  as  ours.  Even  in  the  tiny 
French  villages  you  will  find  old  chapels 
converted  into  movie  houses,  showing  films 
of  Charlie  Chaplin   and   Gloria  Swanson! 

So  many  have  criticized  the  architecture 
here;  but  I  find  it  charming  and  quite  in 
keeping  with  the  climate  and  the  mood  of 
the  land.  It  is  much  like  old  Spain:  the 
Spanish,  the  Basque,  and  the  Provencal 
houses  are  quite  right  for  Hollywood. 

The  west,  and  particularly  the  southwest, 
however,  is  an  entirely  new  country;  a  new 
civilization   really.     The   east   is  different, 

In  New  York 

Continued  from  page  91 

here — for  many  reasons.  But  foremost 
among  them  is  the  fact  that  it  would  be 
exceedingly  difficult  to  find  anybody  to  fill 
just  the  niche  that  he  has  filled  so  admir- 
ably for  a  number  of  years. 

We  have  all  heard  that  it  is  easier  to 
recruit  women  for  the  movies  than  it  is 
men.  Most  girls'  natural  inclination  is 
toward  the  dramatic,  whereas,  most  young 
men's  fancies  turn  to  business.  And  it 
is  extraordinarily  difficult  to  find  male  stars 
who  possess  the  suave  charm  which  has 
brought  Menjou  fame.  Because  of  this, 
we  hope  we  have  not  lost  him  to  the  for- 
eign films. 

When  Menjou  returned  from  Paris  the 
other  day,  he  reported  that  all  Europe  is 
much  excited  over  talking  pictures.  He 
claims  that  one  single  American  film  made 
four  hundred  thousand  dollars  in  France 
alone  last  year.  Try  that  out  on  your 
wallet  and  remember  that  every  French- 
man thinks  three  times  before  he  parts 
with  a  centime! 

"In  three  years,"  says  Menjou,  "I  be- 
lieve our  Hollywood  producers  will  be 
making  sixty  percent  of  the  European 
talkies.  Naturally,  they  will  either  have 
to  import  foreign  artists  or  establish  stu- 
dios in  Europe.  I  intend  to  stay  three 
weeks  in  New  York  to  negotiate  for  a 
very  successful  play  to  make  a  talking  pic- 
ture of  it  in  French,  German,  and  English. 
Then  I  am  going  to  Hollywood." 

Menjou  said  that  his  own  picture,  lately 
completed,  was  the  first  all-talking  picture 
made  in  the  French  language  in  France. 
He  also  made  an  English  version  which 
will  soon  be  released  in  London. 

Lucile  Gleason,  wife  of  Jimmy,  mother 


and  Europe  is  decidedly  different — they  are 
as  far  apart  as  the  poles. 

I  don't  know  much  about  the  night  life 
of  Hollywood,  if  any.  I  haven't  seen  much 
of  that.  I  have  been  to  a  few  dinner 
parties,  but  it  was  much  the  same  as  it 
would  be  anywhere  else!  Familiar  faces, 
familiar  talk.  I  have  met  some  of  the 
moving  picture  actresses  whom  I  did  not 
know  on  the  stage.  I  found  Eleanor  Board- 
man  and  Colleen  Moore  charming;  and 
Kay  Francis.  And  June  Collyer  is,  I  be- 
lieve, the  prettiest  girl  I  have  ever  seen! 

To  get  back  to  the  beauties  of  California, 
and  you  may  judge  me  a  booster  if  you 
wish — but  I  consider  Beverly  Hills  one  of 
the  most  beautiful,  in  fact,  the  most  beauti- 
ful suburb  to  a  large  city  anywhere.  And 
I  can  think  of  few  things  that  can  quite 
compare  with  the  ride  along  Sunset  Boule- 
vard out  toward  Beverly  overlooking  the 
vista  of  all  Los  Angeles  and  down  to  the 
sea,  particularly  at  sunset,  and  then  later 
when  it  becomes  a  sea  of  lights. 

Perhaps  I've  been  too  busy  to  encounter 
any  real  orgies — I  may  catch  up  with  a 
few  yet,  I've  only  been  here  three  weeks, 
after  all! 

But  certainly,  although  this  is  my  first 
trip  west,  I  am  already  completely  sold  on 
Hollywood! 


of  Russell,  dean  of  feminine  vaudevillians, 
came  to  town.  She  brought  her  charming 
mother  with  her.  Russell's  grandma  is 
spry  and  snappy. 

One  of  the  first  legitimate  players  to  go 
to  Hollywood,  Lucile  alternates  between 
stage  and  screen,  spending  more  and  more 
of  her  time  in  Hollywood  where  she  can 
stretch  out  in  her  chaise  lounge,  kick  off 
her  shoes,  and  lie  down  to  quiet  sleep 
without  any  thought  of  trains  to  be  caught, 
new  acts  to  be  tried  out,  or  lumpy  hotel 
beds  and  stringy  roast  beef. 

Lucile  has  always  been  one  of  my  pets. 
Her  jolly  personality,  her  fine  stable  char- 
acter, and  her  really  excellent  artistic  in- 
terpretations have  been  great  contributions 
to  our  variable  talking  picture  industry. 
She  was  to  have  returned  to  vaudeville  at 
the  Palace  here  in  a  new  act  with  husband 
Jimmy,  but  instead  she  was  called  back  to 
the  Coast  by  Jimmy's  illness.  Nothing 
serious,  but  the  vaudeville  act  has  been 
postponed. 

My  dear,  she  actually  did,  that  is,  I 
mean,  Ruth  Taylor  was  married!  Yes,  the 
blonde  Lorelei  Lee,  of  "Gentlmen  Prefer 
Blondes"  is  honeymooning  with  her  nice, 
new  husband.  Paul  S.  Zuckerman  is  the 
lucky  man.  He  is  a  wealthy  New  York 
stock  broker  —  which  means  blonde  stock 
is  preferred  right  now.  They  were  mar- 
ried in  Phyllis  Haver's  Greenwich  Village 
pent  house  by  none  other  than  Mayor 
Jimmy  Walker  of  New  York  City.  Billy 
Seaman,  Phyllis'  husband,  is  the  Mayor's 
best  boy-friend.  Adolphe  Menjou  and  his 
wife,  Kathryn  Carver,  were  at  the  cere- 
mony. Best  wishes  to  you,  Mr.  and  Mrs. 
Zuckerman! 


113 


^Ve  Aamtiesf  ^ 
to  remove  cold  cream 

Pastel  tinted  Kleenex  Tissues  .  .  . 
wkich  are  used  once,  tlien  discarded 


Exquisite  tints  .  .  .  absolutely  pure  and  safe  .  .  .  make  Kleenex  especially 
dainty.  The  smart,  modem  box  automatically  bands  out  two  sheets  at  a  time. 


for    June  1930 

Ask  Me 

Continued  from  page  104 

you?  Won't  even  your  best  friends  help 
you?  Irene  Rich  appeared  with  Will 
Rogers  in  "They  Had  to  See  Paris"'  for 
Fox  Studios,  1401  No.  Western  Ave., 
Hollywood,  Cal.  You  can  reach  Greta 
Garbo,  Norma  Shearer  and  John  Gilbert 
at  Metro-Goldwyn-Mayer  Studios,  Culver 
City,  Cal.  Rod  La  Rocque  at  United 
Artists  Studios,  1041  No.  Formosa  Ave., 
Hollywood,  Cal.  Bebe  Daniels  and  Sally 
O'Neil  at  RKO  Studios,  780  Gower  St., 
Hollywood.  Nancy  Carroll,  Esther  Ral- 
ston and  Jack  Luden  at  Paramount  Studios, 
5451  Marathon  St.,  Hollywood,  Cal.  John 
Barrymore  at  Warner  Bros.  Studios,  5842 
Sunset  Blvd.,  Hollywood,  and  Our  Gang 
at  the  Hal  Roach  Studios,  Culver  City,  Cal. 

G.  F.  S.  from  Raleigh,  H-  C.  Why 
should  I  settle  down  and  take  my  time 
about  it?  Much  laughter  and  many  a 
heigh-ho  is  my  line  and  I'm  going  to  hang 
on  to  it.  It  would  take  too  much  space 
to  give  all  of  Douglas  Fairbanks'  pictures 
since  1914  when  he  made  his  first  appear' 
ance  for  David  Wark  Griffith  for  Triangle- 
Fine  Arts.  Since  that  time  he  has  made 
36  or  more  pictures.  Among  his  first  were 
"The  Lamb,"  "Double  Trouble,"  "Reggie 
Mixes  In,"  and  "His  Picture  in  the  Paper." 
Ramon  Novarro's  first  pictures  were  "The 
Prisoner  of  Zenda"  and  "Scaramouche"  in 
1922;  "The  Midshipman"  in  1925;  "Ben 
Hur,"  "The  Student  Prince,"  and  "The 
Road  to  Romance"  in  1927. 

Lucile  from  Portland,  Ore.  I'm  looking 
for  a  double.  Have  you  a  little  double 
in  your  home?  Broadcast  from  my  depart- 
ment and  get  results  and  what  results! 
Inez  Johns,  are  you  there?  They  say  you 
doubled  for  Nazimova  a  few  years  ago  so 
come  across  with  your  number.  Little  David 
Durand  appears  with  Belle  Baker  of  stage 
fame,  in  "Song  of  Love."  Ralph  Graves 
and  Arthur  Houseman  are  in  the  cast. 
Jack  Oakie  in  "Hit  the  Deck"  is  making 
every  fan  sit  up  and  beg  for  more.  You 
remember  Jack  with  Buddy  Rogers  and 
Nancy  Carroll  in  "Close  Harmony,"  don't 
you?  Jack  is  reported  engaged  to  the 
blonde  and  lovely  Gwen  Lee. 

-§=■  ;  *§- 

Richard  Dix  Psycho- 
Analyzed 

Continued  from  page  59 

Well,  the  ratio  of  introvert  to  extravert 
is  about  14  to  42. 

I  should  say  that  Richard  Dix  is  a  well- 
extraverted  sensation  type,  with  much  of 
feeling  and  thinking  as  assistants  to  sensa- 
tion. Sensation  is  earthy,  masculine.  It 
is  realistic,  getting  the  dope  through  the 
senses,  through  seeing,  hearing,  touching, 
and  so  on.  Insofar  as  feeling  steps  in,  the 
type  becomes  emotional:  but  where  thinking 
plays  a  part  (thinking  being  highly  mas- 
culine also)  the  type  becomes  hard-hitting, 
with  an  awful  wallop.  The  American 
doughboy  was,  in  general,  just  about  like 
that  —  emotional,  sociable,  good-natured 
until  it  came  to  fighting.  Only  Dix  does 
more  thinking  than  most  of  them. 

An  Americano,  ladies  and  gentlmen,  a 
big  boy  from  St.  Paul,  Minnesota,  but 
with  the  difference  that  he  is  an  actor  and 
a  good  one  at  that.  Men  like  him;  women 
are  charmed.  He  appears  to  enjoy  life, 
and  the  rest  of  us  enjoy  him.  We  should 
miss  him  if  the  screen  lost  him. 


ONE  important  reason  why  Kleenex  is 
essential  to  proper  beauty  care  is  this: 
it  is  absolutely  clean  and  hygienic. 

Most  methods  of  cold  cream  removal  are 
inefficient,  and  even  dangerously  unclean. 
Cold  cream  cloths,  for  instance,  are  usually 
filled  with  germs.  And  germs  in  the  pores  are 


SALLY  EILERS  is  another  screen  favorite 
•who  considers  Kleenex  an  absolute  essential: 
"I'd  expect  all  sorts  of  complexion  trouble 
if  I  didn't  use  Kleenex  regularly  to  remove 
every  trace  of  make-up.  It's  so  thorough,  so 
sanitary." 


the  starting  point  of  pimples  and  blackheads. 
Towels  are  inefficient,  because  their  harshness 
prevents  absorption,  and  thus  oil  and  dirt  are 
not  removed. 

Soft,  dainty  Kleenex  tissues  actually  blot  up 
the  surplus  cold  cream.  Along  with  the  cream 
come  any  dirt  and  cosmetics  which  may  be 
lingering  in  the  pores. 

It  isn't  necessary  to  rub  and  scrub  and 
stretch  the  skin,  which  beauty  experts  say 
induces  wrinkles  and  premature  aging.  And 
it  isn't  necessary  to  soil  and  ruin  towels. 

Many  people  use  Kleenex  almost  exclusively 
for  handkerchiefs.  Think  how  much  more 
sanitary  it  is,  when  there's  a  cold !  Kleenex 
is  used  just  once,  then  discarded.  Cold  germs 
are  discarded,  too,  instead  of  being  carried 
about  in  a  damp  handkerchief,  to  infect  others, 
and  reinfect  the  user. 

Kleenex  does  away  with  unpleasant  hand- 
kerchief laundering.  Ask  for  Kleenex  at  any 
drug  or  department  store. 

eenex  CI  eansmg  Tissues 

TO  REMOVE  COLD  CREAM 

+  y 

Kleenex  Company,  Lake-Michigan  Building,  Chicago, 
Illinois.   Please  send  a  sample  of  Kleenex  to :  SL-s 

Name  

Address  

City  -  ...   - 


Kl 


114 


SCREENLAND 


The  Beauty  of  Daintiness — continued  from  page  95 


There  is  no  more  important  detail  of 
£,ood-grooming  than  vibrant,  live,  shiningly 
clean  hair  becomingly  worn.  It's  so  easy, 
too,  to  have  nice  hair — scalp  massage,  daily 
brushing,  a  shampoo  that  suits  the  indi- 
vidual  need  —  and  there  you  are.  Hair 
never  before  has  cost  as  much  in  dollars 
and  cents — but  it's  worth  it.  Each  head, 
spun-gold,  red-brown  or  coal  black,  may 
demonstrate  the  beauty  of  daintiness. 

And  clean  faces!  You  can't  be  dainty 
unless  your  face  is  clean,  and  this  isn't 
always  such  an  easy 
matter,  especially  in 
cities.  I  believe 
thoroughly  in  the 
merits  of  cleansing 
cream  and  I  believe 
also  in  good  old 
soap  and  water,  in- 
telligently used. 
The  relation  of 
clean  faces  to  per' 
manent  skin  beauty 
is  a  close  one. 
Study  your  skin 
and  find  out  what 
soap  and  creams 
best  agree  with  it. 
Treat  your  skin 
with  watchful  care 
and  you'll  not  need 
to  mourn  the  pass- 
ing  of  extreme 
youth.  If  you're 
clever,  you  can  be 
better  looking  at 
thirty,  at  thirty 
five,  than  you  ever 
were  before! 

Well-cared  for 
hands  contribute 
largely  to  the  effect 
of  daintiness.  Don't 
make  the  mistake 
of  using  harsh 
soaps  on  the  hands, 
and  avoid  hard 
water  without  a 
softening  agent. 
Don't  let  the  hands 
become,  or  at  least 
remain,  stained. 
Keep  a  cut  lemon 
at  hand  to  remove 
any  stains  that  ap- 
pear. Have  hand  creams  and  lotions  always 
within  reach.  Have  one  on  your  dressing- 
table,  one  in  the  bathroom  cabinet,  and  one 
near  the  kitchen  sink  and  use  it  after  each 
washing  and  drying  of  the  hands.  Shape 
your  nails  prettily  and  give  them  some  at- 
tention every  day. 

Add  to  your  beauty  care  each  day  a 
brisk  walk,  good  posture,  plenty  of  fresh 
air  and  food  —  and  you  ought  to  keep 
moderately  fit. 

Now  don't  ask,  young  brides  and  older 
brides,  when  you  are  to  find  time  to  acquire 
the  effect  of  daintiness  morning,  noon  and 
night.  You  can  easily  do  it  if  you  make 
your  beauty  rites  a  part  of  the  daily  routine. 

Your  new  home  keeps  you  busy,  of 
course.  You  thought  you  were  busy  before, 
with  business  or  professional  cares,  never 
a  minute  to  call  your  own.  But  now — 
well — what  with  jumping  out  of  bed  early 
in  the  morning  to  let  in  the  ice  man  and 
start  the  coffee  and  order  the  groceries,  with 
meals  to  plan  and  prepare,  shopping  to  do, 
and  a  few  social  occasions  with  'the  girls' — 
you've  hardly  time  to  breathe  before  it's 
time  to  slick  up  your  hair,  powder  your 


nose  and  wait  for  John's  return.  You  don't 
want  to  'slump'  or  grow  unattractive,  yet 
as  for  spending  a  lot  of  time  beautifying 
before  retiring — 

No,  girls,  you  don't.  You  know  a  man's 
beauty  habits  are  comparatively  simple.  He 
has  had  no  experience  with  going  to  bed 
encased  in  cold  cream,  waving  combs  and 
bob  caps  or  wearing  gloves  to  keep  hand 
lotions  off  the  bed  linen.  He  has  no  under- 
standing of  why  it's  necessary  to  spend  a 
lot  of  time  in  beautifying,  particularly  just 


Countess   Rina  de   Liguoro,   Italian   screen   star,   demonstrates  the 
beauty  of  daintiness  in  smoothness  of  skin  and  dazzling  perfection 
of  well-kept  teeth.    Countess  de  Liguoro  lends  charm  to  Cecil  B. 
De  Mille's  new  picture,  "Madame  Satan." 


before  retiring.  He  probably  expects  you 
to  'prink'  before  going  out  just  as  you  did 
before  you  were  married;  but  he  won't  be 
able  to  understand  why  you  must  begin  all 
over  again  when  you  get  home! 

Of  course,  certain  things  such  as  brushing 
the  teeth  and  cleansing  the  skin  must  be 
done  at  night.  But  your  real  beauty  rites 
may  be  performed  in  the  morning  after  your 
work  is  done  or  in  the  afternoon  after  your 
rest  period.  In  fact,  you  can  do  your 
special  cold  creaming  while  doing  the  dishes 
or  taking  your  bath  or  reading  the  paper. 
Do  all  your  beauty  stunts  when  most  con- 
venient, but  without  publicity.  The  main 
thing  is,  do  them. 

Baths  play  an  important  part  in  the 
beauty  schedule,  and  what  about  your  bath- 
room? Is  it  a  place  where  you  love  to 
linger?  A  place  where  you  can  revel  in 
freshness  of  color,  the  charm  of  colored 
towels,  exquisitely  colored  bath  mats,  deli- 
cately colored  cleansing  tissues,  jars,  bottles 
and  containers  topped  or  painted  in  exotic 
or  pastel  colors  to  suit  your  fancy? 

What  has  all  this  to  do  with  beauty? 
A  great  deal  if  you  are  susceptible  to  color 


harmonies,  as  most  of  us  are.  Did  you 
ever  spend  a  luxurious  hour  in  a  bathroom 
with  green  walls  and  tiles,  violet  and  white 
checked  curtains  at  the  windows,  violet  and 
white  towels  on  the  racks,  a  generous  sup- 
ply of  violet  soap,  green  bath  salts  in  a 
violet  glass  container  and  violet-scented  dust- 
ing powder  in  a  green  glass  bowl  with  a 
luscious  violet  puff?  If  so,  then  you  know 
the  part  that  lovely  surroundings  may  play 
in  the  beauty  of  daintiness. 

When  you  are  ready  to  bathe,  drop  a 
handful  of  spicy 
and  fragrant  bath 
salts  into  your  tub 
of  warm  water. 
Have  a  clean  wash 
cloth  and  a  cake  of 
your  favorite  soap. 
Today,  there  is  a 
soap  for  every  skin 
— olive  oil,  almond 
oil,  glycerine,  oat- 
meal, lemon,  cu- 
cumber, c  a  stile, 
plain  unscentcd 
soaps  if  you  prefer 
them,  and  there 
are  many  exquisite 
scented  soaps  from 
which  to  choose. 

After  the  soap 
and  water  cleans- 
ing rinse  with  a 
quick  shower  or 
spray,  dry  well,  and 
dust  the  body  with 
fragrant  powder. 

Speaking  of  soap, 
we  are  reminded  of 
a  unique  bath  ac- 
cessory in  the  form 
of  a  goodly  sized 
wooden  bowl  with 
a  cake  of  soap  that 
just  fits.  This  is 
placed  in  the  tub 
for  the  length  of 
the  bath,  then  taken 
out  and  set  aside 
for  next  time.  This 
lasts  several  months, 
it  is  said,  one  thing 
greatly  in  its  favor 
— no  starting  to 
take  a  bath  and 
finding  at  the  last  minute  that  we're  all 
out  of  soap!  It  is  put  out  by  an  English 
firm  which  specializes  in  powders  and  per- 
fumes of  quality,  and  is  now  bringing  out 
a  new  cream  especially  lauded  for  its  pro- 
tective qualities.  An  interesting  feature  is 
that  the  design  on  this  jar  was  copied  from 
a  jar  discovered  in  the  tomb  of  an  Egyptian 
Queen,  thus  revealing  woman's  vanity  5,000 
years  ago! 

If  the  water  in  which  you  bathe  is  in- 
clined to  be  hard,  use  a  prepared  water 
softener  or  a  hard  water  soap.  An  old- 
fashioned  method  of  softening  water  and 
whitening  the  skin  was  to  place  in  the  tub 
a  small  bag  of  cheese-cloth  filled  with  oat- 
meal. 

A  salt  bath  is  tonic,  as  everybody  knows 
who  enjoys  salt  water  bathing.  Sea  salt 
may  be  purchased  for  this  purpose;  rubbed 
vigorously  over  the  body,  followed  by  a 
shower  and  a  brisk  rub  with  a  coarse  towel, 
this  bath  is  a  marvelous  stimulant  in  the 
morning  upon  rising,  or  at  the  end  of  a 
tiring  day. 

Our  grandmothers  knew  the  soothing 
quality  of  starch  as  a  dusting  powder  and 


for    June  1930 


Such,  priceless  zipl 

savs  JUNE  COLLYER, 


charming  young  favor- 
ite of  the  silver  screen. 

It  s  the  first  time  in. 
all  my  days  I  ve  Jcnown 
a  perfume  that  could 
heep  step  with  a  whiz 
of  a  sport  froch  .  .  . 
and  a  love  of  a  dance 
froch,  too  .  .  . 

Seventeen  is  mine  .  .  . 
All  around  the  clocL 
I  wear  it  ...  I  tell 
people  that  I  thinJc  it 
was  just  made  for  me  J 


you  re  a  modern  .  . 
SEVENTEEN  is  for 


yo 


ti 


A  perfume  .  .  .  newer  than  the 
newest  small  talk!  JVlore  mod- 
ern than  your  swiftest  motor 
car.  ^Lore  daring  than  your 
latest  thought. 

Yet  suhtle  too  .  .  .  naive  . .  .  and 
elfin... Like  a  dryad's  darting 
shyness  .  .  .  springtime  . .  .  April 
...taken  in  crystal  draughts. 

SEVENTEEN  is  you  ...  a 

whisper  of  your  own  verve 
and  personality.  .  .  the  accent 
for  your  modern,  sparkling 
different  charms. 

«     «  « 

Try  Seventeen  today  .  .  .  you 
will  find  it  wherever  fine 
toiletries  are  s  old 
And  how  delightful  to  know  that 
every  rite  of  the  dressing  tatle  can 
he  fragranced  with  Seventeen  /The 
Perfume,  in  such  exquisite  little 
French  flacons  ,  .  .  the  Powder,  so 
new  and  smart  in  shadings  .  .  .  the 
Toilet  Ti^ater,  like  a  caress...  tne 
fairy-fine  Dusting Powdertor  after- 
bathing  luxury  . .  .  the  Talc . . .  the 
Sachet .  .  .  two  kinds  of  Brillantine 
. . .  and  the  Compact,  gleaming  black 
and  gold  .  .  .  like  no  other  compact 
you've  seen.  You  will  adore  them  all! 


116 


SCREENLAND 


IMAGINE  BEING  ABLE  TO  WASH  AWAY 
UNWANTED  HAIR  WITH  A  LIQUID  ! 

Just  sponge  the  unsightly  growth 
with  DeMiracle  and  rinse  with  clear, 
warm  water.  You  actually  see  the 
hairs  dissolve. 

It  sounds  like  magic!  Yet  that  is 
exactly  what  happens. 

No  razor,  no  pastes,  no  waxes,  no  pow- 
ders to  mix.  Instead,  you  just  wash  away 
unwanted  hair  with  this  delicately  per- 
fumed liquid  which  retards  the  reappear- 
ance of  hair,  and  positively  will  not 
coarsen  the  growth. 

With  DeMiracle  it  is  so  easy  to  have 
delicate  white  skin,  free  from  the  blemish 
of  hair — Satin-smooth  under  sheer  silk 
stockings.  Quick — Safe — Dainty,  it  is  the 
"only"  liquid  depilatory  you  can  buy,  and  it 
is  a  necessity  for  the  sophisticated  woman. 

Sold  everywhere:  60c.  $1.00  and  $2.00. 
If  you  have  any  difficulty  in  obtaining  it, 
order  from  us,  enclosing  $1.00.  DeMiracle, 
Dept.  D-l,  138  W.  14th  St.  New  York  City. 

De3fliracfe 

WASHES  AWAY  HAIK 


used  it  in  the  bath  for  the  satiny  smooth' 
ness  it  gave  the  skin.  Today,  this  ingre- 
dient,  perfected  by  science,  comes  in  con- 
venient  form;  a  portion  of  it  dissolved  in 
the  bath  gives  the  water  a  pleasant  smooth- 
ness, and  after  you  bathe  as  usual,  using 
your  favorite  soap,  your  skin  will  reveal 
the  smoothness  of  a  baby.  This  beauty  bath 
is  within  reach  of  everyone  and  is  delightful 
in  effect. 

There  are  other  vastly  important  details 
of  personal  daintiness,  among  them  the  prob- 
lem of  superfluous  hair.  Clothes  are  more 
feminine  this  season,  meaning  that  skirts 
are  longer.  But  this  doesn't  solve  the  prob- 
lem at  all.  We  still  have  the  decolette 
evening  gown,  sleeveless  afternoon  frocks; 
hosiery  is  sheer  as  ever,  the  vogue  for 
socks  or  no  stockings  will  continue  for 
country  wear;  sports  frocks  are  short  and 
some  of  them  sleeveless  and  the  one-piece 
bathing  suit  we  have  always  with  us.  So 
the  need  for  getting  rid  of  unwanted  hair 
is  greater  than  ever. 

Scientific  authorities  today  recognize  su- 
perfluous hair  to  be  an  unnatural  condition 
or  growth  with  women,  but  believe  it  can  be 
eliminated  through  treatment  which  destroys 
or  devitalizes  the  hair  root  below  the  sur- 
face of  the  skin. 

There  are  ways  to  remove  superfluous 
hair  temporarily,  but  many  of  these  are 
open  to  serious  criticism.  For  instance,  the 
use  of  the  razor  which  removes  hair  only 
at  the  surface  and  strengthens  and  coarsens 
the  hair  exactly  as  it  does  a  man's  beard. 

The  modern  woman  rebels  against  clumsy 
old-fashioned  methods  of  removing  the  of- 
fending growth  of  hair.  They  are  glad  to 
learn  about  and  to  adopt  scientific  modern 
methods  which  removes  superfluous  hair 
from  under-arms,  arms,  and  legs  quickly 
and  efficiently  and  with  the  assurance  that 
it  will  not  grow  back  heavier  than  ever 
before.  As  this  process  attacks  the  hair 
below  the  surface  of  the  skin  the  result  is 


comparatively  lasting  and  by  robbing  the 
hair  of  vitality  it  gradually  becomes  finer 
until  its  growth  is  retarded. 

This  is  no  day  to  be  patient  with  fuzz; 
off  it  must  come.  No  woman  should  be 
expected  to  endure  a  bad  superfluous  hair 
condition.  Be  patient  and  persistent  and 
you  may  acquire  the  charm  of  a  perfection 
of  daintiness  which  means  freedom  from 
blemish. 

There's  another  foe  to  daintiness.  I  mean 
the  troublesome  problem  of  excessive  per- 
spiration which  many  girls,  otherwise  fasti- 
diously dainty,  do  not  know  how  to  meet. 
Perspiration  is  Nature's  way  of  disposing 
of  waste  matter  from  the  system.  But  while 
perspiration  is  Nature's  method,  cleanliness 
is  man's.  When  Nature  throws  to  the  sur- 
face these  secretions  they  should  be  removed 
by  bathing;  and  to  complete  the  effect  of 
daintiness,  any  garment  that  goes  next  the 
skin  should  be  changed  daily. 

It  is  true  that  some  cases,  due  to  some 
irregularity  of  the  system  are  so  extreme 
that  they  need  medical  attention.  If  this 
is  the  case,  it  should  be  attended  to  with- 
out delay.  But  usually  it  can  be  remedied 
locally  without  harm  by  frequent  bathing 
and  by  the  use  of  a  reliable  deodorant. 

And  so  to  the  brides  of  today,  tomorrow 
and  yesterday — I  commend  the  beauty  of 
daintiness!  To  my  mind,  a  meal  not  ready, 
a  sock  not  mended,  a  table  undusted  are  not 
so  serious  as  a  grimy  face,  neglected  hair, 
ill-cared  for  hands,  a  generally  unkempt  ap- 
pearance. Remember  that  while  the  other 
member  of  your  family  may  not  always 
notice  or  comment  if  you  are  fresh  and 
dainty  for  his  home-coming,  he  surely  will 
if  you  are  not! 

If  you  have  individual  beauty  problems, 
write  to  me  and  let  me  help  you  solve 
them.  Address  Anne  Van  Alstyne,  Screen- 
land  Magazine,  45  West  45th  Street,  New 
York  City.  Please  enclose  stamped,  self- 
addressed  envelope  for  reply. 


The  Stars'  Latest  Craze 

Continued  from  page  57 


Arlen.  Richard,  like  Buddy,  has  $25.00 
a  week  to  use.  He  signs  no  checks.  Joby 
invests  the  money  in  very  safe  bonds  or 
in  building  and  loan. 

Harry  Eddington,  executive  at  Metro- 
Goldwyn-Mayer,  looks  after  the  income 
and  principal  business  affairs  of  John  Gil- 
bert and  Greta  Garbo.  He  makes  them  a 
small  spending-money  allowance  and  okays 
every  purchase,  banking  the  bulk  of  their 
money.  They  can  hardly  blame  Harry  if 
either  of  them  ever  get  to  the  'hungry' 
stage!  He  keeps  them  on  a  regular  budget 
and  has  survived  the  job  for  nearly  four 
years  now. 

Then  there  are  Rebecca  and  Silton,  who 
take  charge  of  the  incomes  of  Helen 
Twelvetrees  and  James  Hall.  Rebecca, 
however,  insists  very  strongly  she  is  no 
mean  old  tyrant,  but  on  the  contrary,  lets 
her  two  well-known  clients  spend  their 
money  pretty  nearly  as  much  as  they  like. 
Her  main  duty  consists  in  keeping  a  sharp 
lookout  to  see  that  her  stars  aren't  'gyped' 
or  cheated  by  any  smart  salesmen  or  trades- 
people. 

Bogart  Rogers  used  to  manage  Clara 
Bow's  income  and  fortune,  but  now  Clara's 
secretary  and  companion,  Daisy  De  Voe, 
does  the  job  very  wisely  and  nicely. 

Rod  La  Rocque  has  been  'incorporated' 
for  quite  a  while  now,  and  is  'run'  by  a 
regular  board  of  stern-faced  directors! 

One  of  the  first  steps  in  a  concern  of 


the  above  mentioned  order  is  in  the  nature 
of  a  questionnaire,  which  must  be  filled 
out  truthfully  by  the  applicant.  The  form 
goes  something  like  this: 

How  much  are  you  earning  each  week? 

Do  you  own  or  rent  your  home? 

If  you  own  it,  is  it  clear?  If  not,  how 
much  do  you  owe  on  it? 

If  you  rent,  what  do  you  pay? 

How  many  cars  have  you  and  what  make? 

How  many  people  do  you  support? 

How  much  do  you  owe? 

How  much  is  owed  you,  and  by  whom? 

How  many  people  do  you  employ  and  in 
what  capacity? 

What  do  you  spend  for  clothes? 

How  much  do  you  spend  for  entertain- 
ing? 

Do  you  gamble  or  invest  in  liquor? 

What  are  your  legitimate  investments? 

How  much  insurance  do  you  carry? 

How  much  do  you  give  to  charities? 

After  the  player  has  filled  out  the  blank 
spaces,  he  is  requested  to  sign  a  contract 
to  leave  everything  in  the  hands  of  the 
agent,  to  co-operate  in  every  possible  way, 
and  to  make  the  allowance  allotted  him 
(or  her)  do — or  when  it  is  exceeded,  to 
go  short  the  next  week. 

The  player  usually  receives  twenty-five 
dollars  weekly  for  spending  change,  or  in 
some  cases  it  may  be  fifty  dollars.  The 
remainder  of  the  weekly  income  is  placed 
in  the  bank  in  a  joint  account.    All  bills 


/or    June    19  3  0 


117 


are  paid  by  the  firm,  the  client  and  agent 
both  signing  the  checks.  Of  course,  it  is 
the  client's  money  and  the  contract  can  be 
discontinued  at  any  time,  since  it  is  really 
only  a  'gentleman's  agreement.' 

Most  of  the  agents  discourage  the  em- 
ployment of  valets.  And,  too,  many  per- 
sonal  maids  are  frowned  upon,  too.  Also, 
bootleg  liquor  is  looked  upon  with  great 
disfavor. 

A  certain  well-known  star  admitted  he 
paid  out  $3,000  for  liquor  during  the  past 
year.  "You  did!"  exclaimed  his  newly- 
appointed  agent.  "And  what  for?" 

"Well,  I  have  my  position  to  keep  up. 
I'm  expected  to  entertain  and  lots  of  the 
boys  won't  come  unless  liquor  is  served." 

"Aha,  so  that's  it,  eh?"  replied  the  agent, 
putting  on  his  great  scowl.  "Now  I'll  ask 
you  some  questions!  Does  entertaining  and 
passing  around  free  drinks  make  your  work 
any  better?  Does  it  make  your  job  any 
more  secure?  Does  it  make  your  employer 
respect  you  more?  No?  Well,  this  year 
we  will  set  down  two  hundred  dollars  for 
your  thirsty  pals — and  even  that's  too 
much!" 

Racing  and  various  other  forms  of  gam- 
bling are  mostly  out,  too.  And  frequent  and 
expensive  pleasure  trips  to  Agua  Caliente 
and  Tia  Juana  are  scowled  at. 

"Regarding  our  clients,  we  hardly  ever 
advise  them  to  buy  expensive  homes,  but 
rather  to  rent,"  declares  Mr.  Cole  of  the 
Equitable,  "of  course,  if  they  can  buy  a 
nice  home  cheap,  that's  different.  We 
recommend,  for  the  most  part,  only  a  few 
necessary  clubs,  but  we  are  very  liberal 
where  charities  are  concerned.  We  think 
it  is  very  good  for  people  who  acquire 
large  sums  of  money  suddenly  to  be  gener- 
ous in  this  manner.  As  a  rule,  we  never 
interfere  with  our  clients'  choice  of  doctors 


or  lawyers,  although  we  do  once  in  a  while 
point  out  that  $1500  is  too  much  for  an 
appendix  when  $500  is  the  Hollywood 
market  price  for  movie  stars.  Lawyers,  too, 
sometimes  send  in  frightfully  huge  bills, 
greatly  overcharging  certain  prominent  stars. 
However,  when  they  learn  we  do  the  check- 
ing and  paying,  they  quickly  drop  their 
prices  down  to  normal!" 

Most  of  these  finance  firms  reckon  the 
screen  life  of  their  clients  to  be  about  five 
or  six  years.  It  is  their  chief  aim  to  see 
that  their  stars  save  as  much  of  their  money 
as  they  possibly  can,  so  when  their  five 
or  six  years  are  up,  they  will  still  be  able 
to  live  in  comfort  and  without  any  debts 
to  worry  them. 

All  of  these  agents  recommend  good 
sound  investments  and  they  are  very  strong 
for  endowment  insurance. 

One  of  their  greatest  problems,  they  aver, 
is  the  'relative'  question. 

"When  our  clients  begin  to  get  famous," 
they  exclaim,  "he  or  she  discovers  all  kinds 
of  relations  scattered  about  that  they  never 
even  dreamed  about!  We  don't  object  to 
our  clients  helping  out  the  more  worthy  of 
these  relations,  but  we  do  say  they 
shouldn't  shower  money  on  'fifty-second' 
cousins  or  such,  who  never  noticed  them 
until  they  reached  the  heights  of  fame! 
We  have  to  watch  out,  too,  for  people 
who  claim  to  be  related  to  our  clients,  but 
aren't  related  to  them  at  all!" 

The  wave  of  thrift  was  bound  to  come. 
Stars  of  the  talkies  earn  such  enormous 
salaries,  live  their  lives  in  the  fierce  glare 
of  publicity,  enjoy  all  the  privacy  of  a  pet 
goldfish  in  a  bowl  of  water,  that  conse- 
quently, they  are  vulnerable  to  all  sorts 
of  schemes  and  shysters.  It  is  a  fact  that 
with  many  of  them  a  financial  agent  is  not 
a  mere  luxury  but  an  absolute  necessity. 


Movies  in  the  Air—  Continued  from  page  8 


him  a  more  than  comfortable  income. 

But  the  criterion  of  his  waning  or  in- 
creasing favor  will  be  seen  in  the  reports 
of  his  record  sales  for  the  coming  six 
months.  They  will  tell  a  story  that  no 
one  can  refute  or  excuse.  And  the  same 
is  true  of  many  other  artists. 

Harry  Richman  went  from  a  Seventh 
Avenue  cellar  to  a  United  Artists  special 
because  his  particular  talent  fitted  into  the 
entertainment  chain  that  leads  a  singer  from 
cabaret  shouting  through  national  radio 
hookups,  through  lucrative  phonograph 
seasons  and  into  the  big  money  of  starring 
movie  engagements.  Richman  was  nobody 
when  a  kind  fate  arranged  a  radio  tie-up 
with  the  club  where  he  was  earning  a  small 
salary  for  singing  the  latest  song  hits.  One 
station  carried  his  voice  for  months,  but  it 
had  that  peculiar  quality  that  made  listen- 
ers neglect  the  larger  stations  when  Harry 
was  doing  his  stuff.  He  sang  N.o  Hot 
Water  in  the  Bronx  until  a  million  radio 
fans  knew  every  word  of  it,  and  then  his 
salary  started  rising  as  his  technique  im- 
proved. From  radio  he  went  into  the  list 
of  phonograph  artists  and  with  the  good 
luck  of  such  songs  as  Muddy  Waters  he 
started  smashing  the  sales  totals  that  others 
in  the  business  for  years  had  reached. 
George  White  took  advantage  of  his  pop- 
ularity, and  United  Artists,  after  making 
over  his  nose  and  doing  alterations  to  his 
disposition,  too,  found  him  good  material 
for  one  of  its  flicker  successes  of  the  season, 
"Puttin'  On  The  Ritz." 

Every  form  of  entertainment  which  de- 
pends upon  mass  patronage  has  its  slumps. 
There  was  the  time  when  radio  first  came 


into  vogue  when  the  phonograph  manu- 
facturers were  ready  to  declare  bankruptcy. 
For  months  during  that  crucial  time,  few 
talking  machines  were  sold  and  the  records 
sales  fell  off  at  an  alarming  rate.  The 
Victor  people  tied  up  with  the  Radio  Cor- 
poration of  America  and  the  result  was  a 
combination  Victrola  and  radio  receiver. 
Columbia  followed  step  but  even  co-oper- 
ation in  the  distribution  of  the  implements 
wasn't  sufficient.  The  phonograph  manu- 
facturers had  to  buy  time  on  the  air  to 
plug  their  products.  The  business  started 
recovering  and  is  now  in  a  most  flourish- 
ing condition. 

The  movies  were  in  an  unhealthy  state 
when  along  came  talking  equipment  at  a 
most  opportune  moment.  The  film  makers 
had  applied  some  of  the  mechanics  of  radio 
to  their  own  business  with  the  result  that 
they  made  their  silent  tintypes  audible. 
When  radio  interest  was  slightly  waning 
and  the  source  of  new,  novel  talent  was 
being  exhausted,  the  broadcasters  turned  to 
the  movies  for  their  magnet  names. 

Before  the  trio  had  learned  the  value  of 
co-operation  a  movie  star  looked  upon  radio 
broadcasting  as  good  publicity  and  was  glad 
to  offer  his  or  her  services.  Now  the  value 
of  the  tie-up  is  still  recognized  but  the  celeb- 
rity gets  negotiable  lucre  for  the  service. 

Maurice  Chevalier  gets  $5,000  for  singing 
a  few  songs  on  the  air.  Fannie  Brice  adds 
a  thousand  dollars  to  her  income  by  a  bit 
of  fun-making  for  a  few  minutes.  And 
the  most  fitting  example  of  all  is  Will 
Rogers,  who  is  fulfilling  a  thirteen  week 
contract  which  nets  the  homely  philosopher 
a  hundred  dollars  a  month. 


BEAUTY 
FROM  THE 
PINES 


C  % 


OPICY  aroma  —  tang  —  ozone  that 
clears  the  head  and  soothes  the 
nerves — invigorating,  woodsy  air  that 
makes  your  eyes  sparkle — that's  the 
new  Swiss  Pine  Bath! 

Distilled  essence  of  pine  needles 
from  the  heights  of  the  Alps,  Swiss 
Pine  Bath  possesses  the  beautifying 
qualities  of  the  pines  in  concentrated 
form.  A  few  drops  of  this  emerald 
liquid  in  your  bath  transforms  your 
skin  into  soft  satin  with  that  warm, 
glowing  health  that  no  amount  of 
cosmetics  can  achieve.  And  how  you 
will  sleep — to  awake 
with  the  freshness  of 
youth   in  your  eyes! 

Incidentally,  Swiss 
Pine  Bath  is  famous 
in  Europe  as  a  treat- 
ment for  catarrhal, 
rheumatic  and  toxic 
conditions. 

Swiss  Pine  Bath  is 
one  of  those  little  lux- 
uries that  those  who 
love  Beauty  cannot 
afford  to  miss.  Ideal  j 
for  gifts  or  prizes. 
Mail  the  coupon  for] 
a  real  thrill! 


■WlJlf 

PINE  BATH 

BALNEO    PRODUCTS    CO.,  Inc. 

Balneo  Products  Co.,  Inc. 
254-6  West  31st  St.,  New  York. 

Enclosed  find  $1  for  which  please  send 
me,  postpaid,  one  trial-size  box  containing 
five  single-bath  vials  of  imported  Swiss 
Pine   Bath  (Lacpinin-Balsam). 


Name   

Address 


118 


SCREENLAND 


On  Location  ftUnder  Western  Skies" 


has  a  chance  to  sleep  late  they  always  greet 
the  rest  as  'slaves.' 

"When  did  you  get  here?"  Lila  asked 
me.  "We  waited  up  for  awhile  and  then 
remembering  how  late  we  were  in  arriving 
and  our  early  call  we  decided  we'd  better 
go  to  bed.  Isn't  it  gorgeous  up  here?  How 
are  the  puppies?"  she  asked  Irma,  the 
script  clerk,  who  was  wearing  soft  little 
slippers  with  socks  over  woolen  stockings. 

'"Where  are  the  puppies?"  I  asked.  Lila 
laughed.  "Meaning  feet,"  she  said. 
"Irma's  heavy  boots  gave  her  a  terrible 
blister  yesterday." 

"We'll  be  up  to  you  in  a  minute,  Lila, 
are  you  all  .set?"  asked  John  Daumery, 
assistant  director. 

"Excuse  me,  Helen.  I  must  prepare  for 
my  great  moment,"  and  Lila,  Alma,  the 
hairdresser,  and  Harry  De  More,  the  make- 
up man,  went  into  a  huddle. 

Mr.  Badger,  who  is  one  of  the  gentlest 
people  in  the  world,  welcomed  me  kindly 
and  asked  me  to  make  myself  at  home.  He 
has  a  beautiful  home  up  in  this  country 
about  ten  miles  from  the  location  and 
nearer  the  Nevada  range  which  he  built 
several  years  ago.  Mrs.  Badger  had  come 
with  him  this  time  and  also  three  or  four 
house  guests  so  she  wouldn't  be  lonely 
while  her  husband  was  engaged  in  the  busi- 
ness of  making  motion  pictures  with  sound. 
This  is  the  first  time,  however,  that  he  has 
had  the  luck  to  take  a  company  on  the 
location  in  California  he  likes  best. 

It  was  a  swell  troupe.  Farrell  Macdonald 
in  an  absurd  make-up  as  Buzzard,  with  a 
very  red  nose  and  funny  peaked  cap;  Tom 
Dugan  in  mustache,  strange  clothes,  watch 
chains  and  so  forth,  but  the  priceless  thing 
about  his  wardrobe  was  his  shoes.  It  is  a 
good  thing  this  picture  is  to  be  one  hun- 
dred percent  Technicolor  and  I  hope  they 
give  a  close-up  of  Tom's  shoes.  High, 
shiny  black  toes,  pink  buttons  and  terra 
cotta  tops.  After  being  made  up  at  the 
shriek  of  dawn  for  three  days  all  he  did 
while  I  was  there  was  one  scene  in  which 
he  ran  up  a  hill  back  to  the  camera,  and 
that  was  a  long  shot!  He  grasped  Buzzard's 
hand  and  wrung  it.  This  being  a  silent 
shot  the  actors  could  ad  lib.  They  did,  and 
how!  The  mildest  of  the  speeches  was  Tom 
saying  all  breathless-like:  "There  are  twenty 
women  following  me  up  the  path,"  and 
Buzzard's  cutting  reply,  "well,  what's  it 
to  yuh?" 

There  is  a  very  amusing  scene  between 
Buzzard  and  J.  W.  Johnson,  who  is  an  old 
though  not  much  exploited  favorite.  You 
have  seen  him  in  dozens  of  pictures.  When 
the  scene  was  over,  I  told  Lila  I  had  just 
caught  myself  from  giggling  in  time  to  save 
the  sound  picture.  "So  did  Lou,"  laughed 
Lila.  Louis  Marlowe,  second  assistant 
director,  was  sitting  just  back  of  us  at  his 
director's  stand  which  was  balanced  on  a 
rock  beside  him.  "I  sure  did,"  he  grinned, 
"doesn't  Johnson  look  like  Lewis  Stone, 
though?"    He  does,  too. 

The  director's  stand  is  an  interesting 
contraption.  It  has  three  electric  bulbs  en- 
closed in  a  wire  netting,  used  to  signal 
from  the  set  to  the  sound  trucks  about  a 
city  block  away.  There  is  a  telephone 
connection,  too.  One  light  is  yellow,  one 
green  and  one  red.  When  the  yellow  light 
flashes  it  signifies  that  the  scene  has  been 
given    the    "A.    C,"    alternating  current, 


Continued  from  page  61 

meaning  that  the  sound  track  and  camera 
track  are  locked.  Green  light  means  that 
the  motors  are  turning  over  and  red  light 
means  their  speed  is  up  to  normal  and 
everything  is  ready  to  shoot.  An  assistant 
blows  a  whistle  and  the  dialogue  and  action 
of  the  scene  begins.  Then,  if  someone 
sneezes  or  something  funny  like  that  hap- 
pens Mr.  Warner  is  out  quite  a  bunch  of 
dough,  the  amount  being  governed  by  the 
length  of  footage  run.  Once  a  scene  that 
had  run  for  two  minutes  was  spoiled  be- 
cause an  actor  forgot  a  line.  "Breakdown 
due  to  talent,"  reported  Lou  Marlowe  to 
the  sound  truck.  The  reason  for  every- 
thing has  to  be  recorded.  Lila  had  never 
heard  that  phrase  before  and  was  much 
amused  by  it. 

Not  that  anyone  should  have  the  nerve 
to  blame  an  actor  for  not  knowing  his 
lines  on  account  of  the  crazy  way  most  of 
them  have  to  learn  them.  Sometimes  the 
dialogue  is  so  stilted  the  director  has  to 
change  it  all,  not  only  to  make  it  clear 
but  to  keep  the  audience  from  going  into 
hysterics  at  the  wrong  moment.  Some- 
times this  changing  is  done  at  the  last 
minute  just  before  the  scene  is  taken.  Is  it 
any  wonder  the  actor  trips  up?  And  the 
microphone  is  as  merciless  as  the  camera. 
When  such  things  were  done  on  the  stage 
an  actor  could  'fake'  his  lines  and  slur 
over  a  word  or  two  and  the  audience  was 
none  the  wiser.  But  a  sound  picture  audi- 
ence would  know,  all  right.  Some  system 
will  be  worked  into  this  business  one  of 
these  days  by  some  smart  guy  because 
millions  of  dollars  are  lost  in  this  absurd 
way.  It  is  so  inconsistent.  All  sorts  of 
comforts  are  ordered  for  the  leading  play- 
ers, comfortable  transportation,  the  best 
accommodations  a  place  affords,  yet  they  are 
not  allowed  the  time  and  necessary  re- 
hearsals to  make  them  sure  of  doing  the 
work  they  are  capable  of  doing.  This  isn't 
true  of  all  companies,  but  it  is  true  of  most. 

"My,  how  my  public — all  two  of  them — 
are  going  to  hate  me!"  wailed  Lila  after 
the  scene  had  been  taken  in  which  she 
still  high-hatted  her  husband  who  was  doing 
his  darndest  to  make  everything  right  be- 
tween them.  "Hard-hearted  Hannah  over 
here,  that's  what  I  am!" 

Sidney's  brother,  Luke,  had  visited  him 
for  several  days  and  to  make  them  inter- 
esting  Sid  had  arranged  to  have  him  play 
a  very  small  bit  in  the  picture.  He  was 
standing  next  an  old  extra  man  who  has 
been  forty  years  on  the  stage  and  screen 
and  who  hadn't  a  line  to  say  in  this  pic- 
ture. "I  don't  remember  ever  having  seen 
you  before,"  he  said  to  Luke.  "How  long 
have  you  been  in  the  business?" 

"Oh,  about  twenty-four  hours,"  replied 
Luke. 

Olive  Tell,  Kenneth  Thompson  and  David 
Newell,  a  new-comer  to  pictures  whom  you 
are  going  to  like  and  who  has  just  signed 
a  contract  with  Paramount,  hove  into  view. 
"Oh,  I  do  hope  we  work,"  said  Olive. 
"You  know,  they  made  a  mistake  at  the 
studio  and  sent  us  up  here  two  or  three 
days  before  Mr.  Badger  was  ready  for  us. 
We  felt  so  foolish.  Everyone  shouted, 
'Well,  for  goodness'  sake,  what  are  you 
doing  up  here?'  " 

"What  do  you  do  with  your  time, 
sloths?"    Lila  wanted  to  know. 


"We  went  shooting,  and  I  was  a  terrible 
shot  this  morning,"  said  Olive,  "those  tin 
cans  just  would  not  stay  still." 

"How  do  you  make  your  eyelashes  stay 
on,  Lila?"  asked  Olive.  "Mine  didn't  be- 
have so  well  the  last  time."  And  the  two 
girls  went  into  a  heart  to  heart  discussion 
of  the  best  way  to  put  on  eyelashes.  Lila's 
way  was  to  let  Harry  De  More  or  Roy 
Pringle  do  the  job  for  her. 

Max  Julian,  the  still  man  for  the  unit, 
asked  us  to  pose  for  pictures.  "Oh,  I 
can't,"  said  Lila.  "My  hair  is  still  in 
combs." 

"Never  mind,"  Sidney'  and  I  chaffed, 
"you're  good-looking  enough  as  you  are." 

"Well,  I  don't  know  what  all  of  my 
two  public  will  think,"  laughed  Lila,  who 
hasn't  a  vain  bone  in  her  body. 

And  just  a  word  for  the  still  man.  It's 
no  joke  to  be  one  on  an  outfit  like  this. 
I'll  bet  there  wasn't  a  boulder  within  sight 
of  the  location  that  Max  didn't  scale,  his 
camera  on  his  back,  to  look  for  the  best 
'shots.' 

I  should  think  Lone  Pine  would  be 
swarming  with  artists.  Talk  about  the 
color  in  the  Cape  Cod  country — it  can't 
be  mentioned  in  the  same  breath  with  the 
beauty  of  these  hidden  valleys.  And  it 
has  the  same  sandy  barrenness  in  places. 
Here  and  there,  but  miles  apart,  are  little 
farm  houses,  and  at  this  time  of  the  year 
the  sap  is  bright  green  in  the  willows  and 
sage.  I  didn't  know  there  were  so  many 
shades  of  green  and  gray  and  lavender  in 
the  world.  They  were  all  mixed  up  in  a 
riot  of  color  and  above  them  towered  the 
majestic  peaks  of  the  snow-clad  Sierras. 
We  stood  on  one  of  the  promontories  and 
looking  through  the  binoculars  let  them  rest 
at  first  on  the  farm  house,  then  sweep  out 
toward  the  rock-strewn  valley,  then  up  the 
vast  sweep  of  the  mountains.  The  little 
houses,  everything  stood  out  crystal  clear. 
Even  the  horses  added  a  spot  of  glory  in 
their  brown  and  white  coats  against  the  ten- 
der green. 

That  night  there  was  an  entertainment 
in  town,  a  performance  of  one-act  plays 
given  by  the  young  people  of  Lone  Pine. 
Almost  the  whole  company  attended  and  the 
house  was  packed.  It  was  very  interesting, 
too.  Some  of  the  costumes  came  from  the 
city  but  others  were  home-made  and  very 
charming.  There  was  a  sincerity  and  eager- 
ness about  the  players  that  made  a  hit  with 
all  of  us.  Sidney  was  asked  to  make  a 
speech  and  they  gave  him  his  cue  just  be- 
fore the  last  act,  but  he  had  hardly  reached 
the  aisle  when  one  of  those  funny  mis- 
understandings that  happen  sometimes  in 
the  best  of  theaters  took  place — lack  of 
coordination  between  the  front  of  the  house 
and  back-stage.  The  players  didn't  know 
Sidney  was  going  to  make  his  speech  at 
that  time  and  the  curtains  opened,  display- 
ing a  bevy  of  South  Sea  Island  beauties 
as  a  background  for  the  actor.  Well,  poor 
Sidney!  He  got  out  of  it  very  gracefully; 
that  boy  knows  his  stuff,  all  right.  With 
a  bow  and  a  smile  and  a  gesture  of  abdic- 
ation in  favor  of  beauty  he  changed  the 
situation  from  an  embarrassing  to  an  amus- 
ing one.  But  it  was  too  much  for  Lila 
and  me.  We  were  reduced  to  tears  of 
laughter  by  the  time  he  got  back  to  us. 
Later,  the  director  of  the  plays  told  us 
how  terribly  disappointed  they  all  were  be- 
cause they  had  been  looking  forward  to  the 
speeches. 


for    June  1930 

When  we  got  back  to  the  hotel  Farrell 
Macdonald  put  up  his  telescope  in  the  back 
yard  and  we  all  looked  at  the  stars  and  the 
moon.  The  moon  looked  like  a  piece  of 
putty  with  bubbles  in  it.  Some  of  the  stars 
were  lovely,  brilliant  like  diamonds. 

This  is  the  first  location  upon  which  I 
played  lazy  in  the  morning — I  must  be 
feeling  my  age.  The  third  morning  I  man- 
aged to  pull  myself  out  at  six-thirty  but 
Lila  beat  me  by  an  hour  and  a  half.  The 
second  evening  of  my  stay,  Mr.  and  Mrs. 
Badger  invited  Lila,  Sidney  and  myself  to 
their  home  for  dinner.  I  was  terribly 
thrilled  because  I  had  heard  a  lot  about  it 
and  I  wasn't  a  bit  disappointed.  It  has  the 
most  livable  looking  living  room  I've  seen 
for  a  long  time.  Very  large,  plenty  of  win- 
dows and  tables  and  enormous  leather 
lounging  chairs  that  one  can  rest  in,  not 
merely  sit  upon.  The  windows  at  the  west 
end  of  the  room  are  placed  in  such  a  way 
as  to  frame  the  view  of  the  mountains  as 
though  it  was  a  picture.  One  large  one  in 
the  center  and  two  smaller  ones.  At  night 
the  effect  is  extraordinary.  There  was  a 
moon  and  the  snow  reflected  the  pale  cold 
light.  The  mantlepiece  was  noteworthy  in 
that  it  was  made  of  lava  and  over  the  top 
bits  of  it  were  twisted  like  elephant's  tusks. 
And  there  were  five  gorgeous  Angora  cats, 
live  ones,  the  pride  of  Mrs.  Badger's  heart. 
There  was  an  astounding  cake  in  two  tiers 
made  by  the  Badger  chef,  beautifully  dec- 
orated with  pink  roses,  and  five  little  brown 
quail  that  looked  as  though  they  were  about 
to  fly  away.  Lila  was  given  the  job  of 
cutting  into  them  which  nearly  broke  her 
heart.  Another  cake  was  shown  us  to  be 
used  the  next  night  which  had  a  perfect 
duplicate  of  the  house  and  grounds  painted 
upon  it  in  colored  icing.  Even  the  mount- 
ains in  the  background  and  the  sky  were 
there  and  across  it  one  read,  "Under 
Western  Skies"  in  honor  of  the  picture.  It 
looked  like  an  oil  painting  so  exquisitely 
was  it  done. 

After  a  tour  of  inspection  in  which  we 
were  shown  Mr.  Badger's  den  which  is  a 
perfect  workroom,  we  tried  to  solve  a  few 
of  the  dozens  of  puzzles  Mrs.  Badger  has 
gradually  accumulated,  fascinating  things. 

The  next  morning,  Sol  Polito,  the  camera 
expert,  was  looking  anxiously  at  the  sun 
through  a  dark  glass  which  he  wore  on  a 
cord  around  his  neck.  John  Daumery,  first 
assistant  director,  called  him  Abdul  because, 
until  he  said  the  word,  no  scene  was  given 
the  "A.C."  which  is  the  signal  to  start. 

"Well,  you  may  be  the  last  word  with 
the  light,  but  if  the  wind  whistles,  no  matter 
how  hard  the  sun  shines,  we  don't  go," 
laughed  Joe  Kane,  the  mixer.  "So  that 
evens  up  our  importance." 

Clarence  Badger  smiled.  A  director  just 
has  to  be  a  double  for  Patience  on  a  Monu- 
ment these  hectic  days. 

Next  morning,  it  was  Sid  who  had  the 
late  call  while  poor  Lila  was  up  before 
dawn.  Farrell  asked  where  Sid  was.  Lila 
answered  with  spirit,  "He's  probably  asleep. 
I'll  bet  he  is  in  a  warm  room  this  minute 
with  the  heat  on  and  the  windows  down — 
yes,  and  the  kitten  asleep  on  his  pillow!" 
referring  to  a  stray  kitten  Sid  had  taken  to 
his-  heart.  It  was  very  cold  that  day  and 
the  wind  blew  terribly,  making  work  an 
almost  impossible  thing.  David  Newell  and 
Lila  were  the  only  ones  at  it  during  the 
morning  and  the  others  gathered  round 
Farrell's  telescope  to  see  what  the  stars 
looked  like  in  the  day  time. 

David  plays  the  young  man  whom  Lila 
would  have  married  if  she  hadn't  met  Sid. 
Sand  blew  in  their  eyes  and  mouth  and 


119 


sent  Lila's  skimpy  muslin  dress  whipping 
about  her.  I  couldn't  help  wondering 
whether  the  gooseflesh  on  her  pretty  little 
arms  was  going  to  pick  up  in  the  camera. 
The  weather  was  no  help  to  histrionic  art 
that  day,  but  no  one  grumbled — much! 
There  is  that  schedule  to  meet  and  every- 
one knows  that  it  doesn't  matter  how,  just 
so  it  is  met. 

In  case  you  don't  know  it,  I  must  tell 
you  that  Lila  Lee  is  an  adorable  kid.  One 
of  the  most  beautiful  girls  on  the  screen 
to  my  mind,  and  one  who  has  made  a  great 
come-back.  Like  a  little  mouse  she  was 
last  year,  quiet,  with  a  bewildered  look  in 
her  eyes  that  went  straight  to  your  heart. 
How  different  now!  She  decided  to  go 
back  to  work  in  earnest,  no  half  measures. 
She  became  interested,  too,  in  a  certain 
young  man,  which  may  account  some  for 
the  radiance  that  shines  about  her.  In  the 
last  year  she  has  risen  to  one  of  our  most 
sought-after  leading  women.  Just  shows 
what  setting  your  mind  to  do  a  thing  will 
accomplish,  and  she  looks  as  happy  as  a 
child. 

Luncheon  each  day  was  served  in  the 
cars.  "Our  private  dining  room,"  said 
Lila,  bowing  me  into  it.  Sidney  ate  with 
us,  too.  After  luncheon  he  read  one  paper 
while  Lila  worked  on  the  cross-word  puzzle 
in  another  and  I  caught  up  in  my  notes. 
Edna,  Lila's  maid,  saw  to  it  that  we  had 
plenty  of  hot  coffee.  The  William  Ander- 
son outfit  was  catering.  They  used  a 
rough  board  shanty  not  far  from  the  hotel 
and  we  all  trouped  there  for  meals,  except 
the  lunches  that  were  brought  to  us,  and 
how  good  the  sandwiches  were! 

There  is  lots  more  to  tell  about  the  loca- 
tion, but  no  more  space  to  tell  it  in.  Out 
of  one  hundred  people  only  eight  or  ten 
were  acting.  The  other  ninety  were  cam- 
era men,  technical  men,  'grips',  electricians 
and  drivers.  How  different  from  the  old 
days.  Now  it's  like  moving  the  world  to 
take  a  company  on  location.  Close  to  half 
a  million  dollars  lay  scattered  over  those 
rocks.  That  may  sound  fanciful  but  let's 
look  into  it.  There  were  five  Technicolor 
cameras  and  each  one  of  them  cost  ten 
thousand  dollars.  There  goes  fifty  thou- 
sand dollars.  There  were  about  twenty 
sound  trucks  averaging  about  fifteen  thou- 
sand each.  There  were  ten  Cadillac  limou- 
sines and  several  touring  cars  and  there 
were  the  sound  booths,  'mike'  booms  and  a 
hundred  other  necessities.  In  the  old  days 
all  they  needed  were  the  cameras,  the  film, 
reflectors,  props  for  the  scene,  chairs  and 
the  commissary. 

The  gang  was  a  good-natured  one,  al- 
ways cracking  jokes  and  turning  trouble 
into  fun.  When  a  sound  booth  weighing 
eight  or  nine  hundred  pounds  had  to  be 
moved  in  the  sand  on  top  the  promontory 
and  into  and  over  ridges  of  rock  a  shout 
went  up:  "Hey!  All  the  minute  men! 
Come,  or  we'll  be  defeated.  The  light  is 
going!"  And  every  available  man  came 
running.  Once  they  had  one  of  the  un- 
wieldy things  on  a  rope  and  all  hove  to 
like  seamen  to   get  it  swung  into  place. 

John  Daumery  had  been  clambering  over 
the  rocks  looking  for  angles.  He  returned 
to  find  everything  at  a  standstill  and  de- 
manded jokingly,  "Now,  what  is  the  situ- 
ation?" He  was  a  comical  sight  in  his  blue 
overalls,  heavy  fleece-lined  driving  gaunt- 
lets, sweater,  muffler,  but  never  a  hat.  The 
situation  was  that  the  talent  was  waiting 
for  the  sound  which  had  broken  down  be- 
cause of  the  gale  that  was  blowing. 

What  can  you  do  with  such  a  business? 
You  just  take  it  as  you  find  it— and  thank 
heaven  you've  got  it! 


Cool 

talcs  for 


warm 


SSii  7  ."H"ijP, 


Luxurious  aids  to  good  grooming  on 
Summer's  sultry  days — Cara  Nome, 
Duslca  and  Shari  Talcum.  As  soft  and 
fine  as  silk  velvet!  As  fragrant  as  a  flower 
garden !  As  refreshing  as  an  ocean  breeze ! 
Sold  only  at  Rexall  Stores.  Liggett's  are 
also  Rexall  Stores.  There  is  one  near  you. 


120 


SCREENLAND 


Unsung  Stars  of  Hollywood—  Continued  from  page  23 


myself  I  do  not  require  more.     For  my 

family  "    he    stopped    a    moment  and 

then  completed  the  sentence,  "for  my 
family  I  could  wish  that  I  knew  better 
what  to  do."  His  wife,  two  children  and 
two  nieces  are  in  a  European  country, 
making  the  brave  fight  for  existence  that 
so  many  of  their  countrymen  are  making. 

When  Emil  Jannings  appeared  in  "The 
Last  Command"  and  the  story  got  about 
that  it  was  from  life,  hard-boiled  New 
York  laughed  the  idea  to  scorn.  Why, 
noble  men  and  women  don't  earn  their 
living.  They  live  in  palaces  and  are  waited 
upon  by  servants!  According  to  mass  psy 
chology  that  is  the  way  it  is.  Survivors 
are  imposters — oh,  they  may  survive,  all 
right,  but  we  don't  want  to  meet  them  in 
the  subway!  They  don't  belong  there. 
And  if  they  were  nobles  they  wouldn't  be 
there,  they'd  be  in  a  palace.  How  we  love 
our  dreams — never  mind  whether  they  are 
true  or  not.  We  will  believe  them,  until 
something  happens  to  us  to  wake  us  up! 

You'd  be  surprised  how  many  doors  of 
limousines  are  opened  to  you,  how  many 
trays  of  food  are  carried  to  you  by  men  and 
women  born  to  the  manor  if  not  the  pur- 
pie.  Not  only  in  Hollywood,  but  all  over 
the  country. 

"The  Last  Command"  was  in  reality  the 
story  of  Theodore  Lodijensky,  a  former 
General  attached  to  the  Czar's  private  body- 
guard. He  has  become  well-known  in  pic- 
tures, his  screen  name  being  Theodore 
Lodi.  He  was  the  high-priced  Grand  Duke 
that  Will  Rogers  makes  .such  a  hit  with 
in  "They  Had  To  See  Paris."  (Do  you 
remember  how  they  both  chucked  Irene 
Rich's  dull  party  and  staged  a  private  one 
of  their  own?)  Lodijensky  told  his  story 
to  Ernst  Lubitsch  just  as  he  told  it  to  me. 
Lubitsch  got  the  idea  that  it  would  make 
a  great  screen  story.  He  told  Jannings 
who  thought  so,  too,  and  Von  Sternberg 
also  became  enthusiastic  and  directed  Jan- 
nings in  it. 

It  happened  to  be  Lodijensky's  story,  but 
it  is  also  the  story  of  many  of  the  Russians 
here.  It  is  Savitsky's  .story,  too.  With 
their  former  material  power  swept  suddenly 
from  under  their  feet  they  are  as  helpless 
as  new-born  children.  The  greater  their 
former  power  the  more  helpless  they  are 
now.  They  have  to  begin  all  over  again 
and  with  other  weapons.  That  is  the  diffi- 
cult thing.  They  don't  know  what  other 
weapons  or  how  to  begin. 

Lodijensky's  story,  briefly,  is  this.  He 
had  held  Moscow  against  the  Revolutionists 
for  six  or  seven  days,  then  finding  that 
the  whole  city  would  be  slaughtered  unless 
they  surrendered  they  did  so,  on  condition 
that  all  lives  would  be  spared.  This  was 
promised,  but  in  three  weeks  Lodijensky 
and  many  of  his  companions  were  thrown 
into  jail.  They  were  asked  to  give  the 
names  of  others  but  they  refused.  Three 
times  Lodijensky  was  taken  out  to  be  shot 
and  kept  standing  while  a  dozen  others 
paid  the  death  penalty.  This  was  to  break 
down  his  spirit.  Lodijensky  had  some 
money  sewn  in  his  clothes  which  had  es-- 
caped  the  guards.  With  some  of  it  he 
bribed  a  jailor  to  take  a  note  to  a  friend 
who  was  still  at  liberty.  The  friend  was 
allowed  to  see  him,  also,  through  bribery. 
He  brought  a  loaf  of  bread  and  told  him 
that  it  concealed  something  that  he  would 
know  how  to  use.  "I  shall  wait  for  you 
all  night  outside  the  wall,"  he  said.  A  steel 
saw  was  in  the  bread.     It  had  no  handle 


and  Lodijensky's  hands  were  torn  and  bleed- 
ing before  he  was  able  to  saw  two  bars  of 
his  window  which  gave  a  space  wide  enough 
for  him  to  crawl  through.  It  was  nearly 
dawn  when  he  finished  and  with  one  leg 
over  the  ledge  he  discovered  another 
dilemma.  He  was  many  feet  from  the 
ground — far  enough  to  cause  death,  or  at 
least  broken  bones.  Desperately,  he  reached 
on  both  sides  of  the  window  for  something 
to  catch  to  and  then  one  of  those  miracles 
happened  that  reads  like  a  fairy  tale. 
There  was  a  rain  pipe  running  from  roof 
to  ground  just  within  reach.  A  shorter 
armed  person  could  not  have  made  it.  He 
slid  down  the  pipe,  the  buttons  on  his  coat 
making  a  fearful  racket,  the  metal  further 
mangling  his  hands.  His  friend  had  a 
Mercedes  all  ready  to  go  and  although  the 
noise  he  had  made  aroused  the  guards,  the 
car  at  a  speed  of  a  hundred  miles  an  hour 
bore  him  to  safety.  With  his  wife,  he  es- 
caped to  France  and  later  at  the  advice  of 
and  with  the  cooperation  of  John  Gay,  an 
American  university  professor,  he  came  to 
America. 

He  and  Mrs.  Lodijensky  landed  with  fifty 
dollars  in  their  pockets.  He  didn't  know 
where  to  get  work  for  he  didn't  speak 
English  at  that  time,  but  finally  he  landed 
a  job  as  riveter  that  paid  him  twenty- 
three  dollars  a  week.  In  time,  he  saved 
four  hundred  dollars  of  which  he  was  very 
proud.  He  and  his  wife  decided  to  open 
a  millinery  shop.  She  had  learned  some- 
thing about  the  trade  in  Paris,  because  she 
liked  to  do  such  things  for  herself.  The 
shop  was  their  home,  too.  It  was  a  front 
parlor  on  the  corner  of  Madison  Avenue 
and  Fortieth  Street  in  New  York.  Trade 
was  very  bad,  however,  until  the  General 
happened  to  meet  Karl  Kitchen  who  wrote 
an  article  for  his  paper  called  "The  Russian 
General  who  turned  his  Sword  into  a 
Needle." 

"If  I  had  had  capital  then  I  should  have 
made  a  lot  of  money,  for  trade  boomed 
overnight,"  General  Lodijensky  told  me. 
"We  moved  to  more  fashionable  quarters 
and  looked  very  prosperous  on  the  outside 
but  lack  of  backing  defeated  us."  Borrow- 
ing from  a  friend  they  started  the  well- 
known  Russian  Eagle  on  Fifty-seventh 
street,  a  restaurant  that  became  very  pros- 
perous. Gradually,  his  story  got  about  to 
the  habitues  of  the  place  of  which  Gloria 
Swanson  was  one.  She  asked  him  to  do  the 
technical  work  on  her  picture  which  Allan 
Dwan  was  to  direct.  Dwan  gave  him  a 
part  in  the  picture.  The  next  with  them 
was  "The  Coast  of  Folly." 

Hollywood  was  inevitable  now  that  he 
was  in  the  picture  business.  He  has  served 
on  many  sets  as  technical  advisor  and  actor. 
Among  them  was  "The  Cossacks,"  "Love," 
"The  Midnight  Sun,"  "General  Crack"  and 
"They  Had  To  See  Paris."  He  started  the 
Russian  Eagle  restaurant  out  here  on  Sun- 
set Boulevard  and  it  became  the  hit  of  the 
town,  for  the  food  was  excellent,  the  music 
extraordinary  and  the  atmosphere  fascinat- 
ing. One  night  when  the  place  was  packed 
and  more  than  a  dozen  film  stars  present — 
I  remember  Charlie  Chaplin  and  Lily  Damita 
were  two  of  them — there  was  an  explosion 
and  everyone  barely  escaped  with  their 
lives.  A  man  who  owned  a  shop  next  door 
had  moved  everything  out  and  set  fire  to 
the  place  to  collect  insurance.  He  is  now 
in  San  Quentin.  Lodijensky  was  taken  to 
the  hospital  and  for  days  was  not  expected 
to  live.   It  wiped  him  out  financially,  down 


to  his  last  dollar.  A  wealthy  man  whose 
name  I  have  been  asked  not  to  mention, 
gave  him  enough  to  start  over  again,  and 
on  another  site  the  new  Double-Headed 
Russian  Eagle  was  opened,  and  soon  became 
a  success.  But  again  fate  steps  in.  The 
city  is  widening  Sunset  Boulevard.  The  new 
line  will  cut  the  restaurant  directly  in  half. 
Once  more  Lodijensky  will  have  to  move. 

But  as  Natalie  Golitzin  says,  "We  Rus- 
sians are  so  used  to  wandering  about  that 
another  move  doesn't  mean  very  much." 
Natalie  or  Natasha  Golitzin,  as  she  is  called 
on  the  screen,  is  one  of  the  fortunate  refu- 
gees, in  that  she  and  her  family  are  to- 
gether. It  took  years  for  them  to  find  each 
other  but  they  are  happy  now,  and  live  in 
a  charming  home  on  Hollywood  Boulevard. 
All  but  one  sister  who  married  a  multi- 
millionaire and  is  living  in  London.  Her 
husband  was  eager  to  toss  a  couple  of 
millions  to  his  wife's  family  or  have  them 
all  under  his  roof  but  the  Golitzins  wouldn't 
hear  of  it.  "We  couldn't  do  that,  you 
know,"  said  Marina  earnestly.  She  is 
Natasha's  older  sister.  "My  father  is  now 
a  physician,  you  see,  and  he  has  a  good 
practice.  My  mother  has  a  little  business. 
She  does  all  sorts  of  embroidery  and  I  help 
her.  An  agent  sells  them  for  us.  My 
younger  brother  is  going  to  school  here  and 
Natalie  does  some  work  in  pictures  now 
and  then." 

That  gentle  though  firm  independence 
showed  their  blood,  as  proud  as  any  that 
ever  flowed  in  Russia.  Both  princesses,  and 
having  a  strain  of  Tartar  blood,  none  of 
the  family  will  have  their  title  recognized 
now.    "It  is  too  foolish,"  Natasha  smiled. 

I  remember  an  afternoon  spent  on  the 
"General  Crack"  set  when  Natasha  was 
pointed  out  to  me.  In  the  coronation 
scene  .she  was  right  in  the  foreground  of 
the  scenes  taken  facing  the  altar.  Not  every 
girl  who  is  a  princess  looks  like  one,  but 
Natasha  does.  She  had  on,  that  day,  a  very 
beautiful  ruby  velvet  gown  with  a  coronet, 
necklace  and  bracelets  of  brilliant  stones. 
She  was  dressed  as  she  would  have  been 
dressed  had  not  misfortune  overtaken  her 
family.  It  is  a  sentimental  reference,  but 
several  people  spoke  of  it  that  day.  Natasha 
herself  seemed  quite  unaware  of  it,  and  she 
never  mentions  her  'family'  to  strangers  and 
politely  changes  the  subject  if  they  try  to 
lead  her  into  conversation  about  it.  "Being 
a  prince  or  a  princess  is  a  business,  really, 
and  we  are  no  longer  in  the  business  of 
being  princes  and  princesses,"  one  of  them 
said. 

David  Mir  feels  the  same  way  about  it. 
He  has  even  changed  his  name  and  few 
people,  even  the  Russians,  know  who  he 
really  is.  There  are  a  few  who  knew  him 
in  Russia  but  they  are  as  secretive  as  he  is 
about  disclosing  his  identity,  which  he 
declares  does  not  matter.  "I  am  an  Ameri- 
can citizen,"  he  told  me.  "My  life  in  Russia 
is  past — wiped  out.  It  does  not  matter 
who  my  father  was.  It  only  matters  what 
I  can  make  of  myself  now,  how  I  can  adjust 
myself  to  the  new  conditions." 

As  David  Mir  you  have  seen  him  in 
many  pictures.  He  played  with  Bessie 
Love  in  "The  Idol  Breakers"  just  before 
she  did  "Broadway  Melody."  He  played 
the  lead  with  Baclanova  in  "The  Secrets 
of  the  Czarina"  and  in  "Bringing  Up 
Father."  He  did  the  technical  work  on 
"His  Hour"  starring  John  Gilbert  and  on 
"Four  Flaming  Days"  in  which  he  also 
designed  the  costumes  and  played  the  part 


for    June    19  30 


121 


of  the  crown  prince.  Conrad  Nagel  and 
Eleanor  Boardman  played  the  leads.  He 
went  abroad  awhile  ago  and  returned  to 
find  a  new  technique  in  vogue — the  talking 
pictures.  Fortunately,  he  is  a  singer.  He 
speaks  English  beautifully  and  several  other 
languages  perfectly.  He  and  his  two 
friends,  Serge  Malavsky,  a  pianist,  and 
Serge  Temov,  a  dancer,  form  part  of  a 
program  that  is  given  every  Saturday  night 
at  the  Russian  American  Club  on  Harold 
Way.  This  charming  place  gives  entertain' 
ments  on  Wednesday  and  Saturday  evenings 
similar  to  the  Chauve  Souris  introduced  to 
America  by  Balieff.  On  the  entertainment 
nights,  one  sees  more  Americans  and  motion 
picture  folk  than  Russians.  Michael 
Vavitch  is  its  president.  The  Russians  call 
him  'Little  Uncle.'  And  when  they  are 
hard  up  he  sees  to  it  that  they  do  not 
starve. 

"Has  he  money?"  I  asked. 

"Oh,  no,  very  little.  But  he  has  a 
restaurant,"  smiled  my  informant.  "And 
while  the  food  lasts  he  is  glad  to  give  it." 
Luckily  the  food  is  so  good  that  wealthier 
patrons  are  regular  attendants. 

David  Mir  and  his  two  friends  started 
a  movement  to  build  the  little  Russian 
Church  which  is  on  Michael  Torreno 
Street.  They  gave  their  earnings,  and  urged 
those  who  could,  to  do  likewise. 

You  see,  they  have  their  own  church, 
their  own  club,  their  own  paper,  their  own 
bookshop;  but  anyone  is  welcome  and  made 
to  feel  at  home.  They  cling  together,  be- 
cause many  of  them  can't  speak  English, 
but  they  are  learning.  The  waiters,  mu- 
sicians and  managers  of  the  Club  were  all 
soldiers  during  the  revolution.  They  are 
all  friends.  Life  placed  some  of  them  as 
actors  and  some  as  waiters  but  that  doesn't 
matter. 

To  return  a  moment  to  General  Savitsky. 
When  he  was  engaged  to  play  a  part  in 
'The  Last  Command"  life  looked  rosy  to 
him.  For  five  weeks  he  was  paid  seventy- 
five  dollars  a  week  and  he  began  to  think 
his  fortune  was  coming  back  to  him.  A 
strange  twist  of  fate,  this,  that  a  Russian 
General  should  be  playing  at  being  one  in 
a  picture  in  which  a  seven  thousand  dollar 
a  week  star  was  playing  the  part  he  played 
in  real  life. 

Later,  Von  Sternberg,  who  seems  to  be 
a  pretty  fine  guy,  sold  Savitsky  the  idea  of 
playing  the  part  of  the  charlatan  in  "The 
Case  of  Lena  Smith."  At  first  he  wouldn't 
play  it.  "I  am  not  an  actor,"  he  pro- 
tested, "I  am  a  soldier.  I  can  play  soldier 
parts  because  I  won't  be  acting,  but  I  can't 
play  comedy."  "Oh,  yes,  you  can,"  said 
Von  Sternberg.  "I  have  been  in  this  busi- 
ness a  long  time,  and  I  know  when  people 
fit  certain  parts.  You  do  as  I  say  and  you 
will  be  all  right." 

"Well,"  said  Savitsky.  "I  trusted  Von 
Sternberg.  He  is  a  European.  He  has 
background  and  he  has  brains.  I  tried 
very  hard  to  do  what  he  told  me  to  do 
and  when  I  saw  it  on  the  screen  I  was 
surprised  that  I  am  pretty  good!"  But 
Von  Sternberg  went  abroad  and  the  talkies 
came  to  America.    Lean  days  followed. 

Corinne  Griffith  did  "Prisoners"  and 
Savitsky  was  called  to  do  an  extra  bit. 
Beulah  Livingstone,  who  directed  the  pub- 
licity for  Corinne  Griffith  productions, 
beard  about  the  General  and  questioned 
him.  "There  is  no  reason  why  I  should 
deny  who  I  am,"  he  said.  "But  I  am  not 
interesting.  What  I  used  to  be  is  not  in- 
teresting.   I  am  now  an  extra." 

There  are  always  the  scoffers,  and  some 
of  them  did  not  believe  the  facts  of  his 


life  that  he  had  not  wished  or  thought 
it  unimportant  to  mention.  The  scoffing, 
however,  hurt.  It  happened  that  he  saw 
in  the  window  of  a  Hollywood  store  a 
picture  postcard  of  Czar  Nicholas  review- 
ing the  Cossack  troops  in  which  Savitsky 
was  standing  by  the  Czar's  side  in  full 
military  uniform.  There  was  only  the  one 
in  the  store  but  he  bought  it,  and  placing 
it  in  Miss  Livingstone's  hands  said  quietly 
and  with  a  dignity  that  brought  tears  to 
her  eyes:  "You  see,  Madame,  I  do  not 
•lie!"  Corinne  Griffith  saw  to  it  that  he 
was  given  a  part  that  ran  through  the 
picture. 

He  would  do  anything  and  is  capable 
of  doing  many  things,  but  he  doesn't  know 
how  to  go  about  it.  He  has  been  in  every 
famous  restaurant  in  the  world,  is  familiar 
with  the  sort  of  things  they  spend  thou- 
sands of  dollars  in  research  to  get,  and  would 
be  tremendously  valuable  in  any  technical 
department.  He  has  also  a  fund  of  stories 
that  would  make  marvelous  pictures. 

When  General  Lodijensky's  authenticity 
was  repudiated  by  a  man  in  Ivan  Lebe- 
deff's  hearing,  Ivan  said:  "Do  you  \now 
that  he  is  not  a  General  or  is  it  that  youi 
just  don't  think  that  he  is?"  "Well," 
blustered  the  man,  "So-and-so  told  me  that 
a  friend  told  him — " 

"Well,"  said  Ivan  evenly,  "what  would 
you  say  if  I  told  you  that  on  October  25, 
1916,  I  had  been  given  leave  from  duty 
on  the  Roumanian  front  and  had  stopped 
off  at  Reni  to  see  my  Uncle,  General  Mak- 
lakoff.  The  Emperor  had  come  to  review 
the  troops  and  with  him  was  General  Lodi- 
jensky.  My  uncle  entertained  the  Emperor 
at  dinner.  Lodijensky  sat  next  the  Em- 
peror and  I  sat  across  the  table  from  them." 

Well,  there  was  no  answer  to  that.  "How 
can  you  dare,"  went  on  Ivan,  "assail  a 
man's  reputation  when  you  know  nothing 
of  the  facts?" 

Ivan  Lebedeff  seems  at  last  to  have 
reached  the  glory  of  the  heights.  I  have 
heard  about  him  for  years  and  of  his  pop- 
ularity; and  it  does  seem  that  when  he  goes 
anywhere  in  public  the  young  girls  have 
no  eyes  for  anyone  but  Ivan,  yet  his  rise 
has  been  slow.  Knowing  something  of  his 
history,  his  executive  ability  and  coolness 
in  time  of  danger,  his  courage  and  clear- 
ness of  thought,  I  asked  him  why  he  chose 
pictures  as  a  career.  He  laughed.  "The 
life  I  led  during  the  first  years  of  the  Revo- 
lution unfitted  me  for  any  normal  work. 
The  business  of  politics  in  time  of  war, 
escapes  from  prisons  and  severe  government 
of  people  are  things  one  cannot  toss  off  like 
a  cocktail.  When  I  got  to  Constantinople 
I  busied  myself  in  the  financial  world. 
There  was  some  of  the  excitement  I  needed 
to  be  had  from  the  uncertainty  of  the  stock 
market.  I  made  and  lost  two  fortunes  and 
was  making  a  third  when  I  was  offered  a 
job  in  UFA  productions.  'Why  not,'  I 
thought  to  myself.  An  actor's  life  is  one 
of  dreams.  Success  is  always  just  around 
the  corner.  It  interests  me  to  try  and  get 
inside  the  mind  of  a  man  and  act  as  he 
would  act,  not  as  I  would  act,  in  his  place." 

Ivan  is  the  son  of  Basil  I.  Lebedeff, 
Privy  Councilor  to  the  Russian  Empire. 
Ivan  himself  was  decorated  for  distin- 
guished service  with  St.  George  Crosses, 
4th,  3rd  and  2nd  class,  and  St.  George 
Medals,  4th,  3rd  and  1st  class  and  pro- 
moted to  the  first  officer's  rank. 

There  is  the  story  of  Alexander  Ikonikof 
who  thought  his  family  were  dead.  He 
worked  his  way  to  Hollywood  by  cleaning 
cars,  washing  dishes  and  catching  fish. 
Shortly  after  he  came  here  he  was  given  a 
part  in  a  Bebe  Daniels  picture.     A  year 


GROW— 

Yes,  Grow  Eyelashes 
and  Eyebrows  like  this 
in  30  days 

'T'HE  most  marvelous  discovery  has  been  made — a 
I  *■  way  to  make  eyelashes  and  eyebrows  actually 
grow.  Now  if  you  want  long,  curling,  silken  lashes, 
you  can  have  them — and  beautiful,  wonderful  eye- 
brows. 

I  say  to  you  in  plain  English  that  no  matter  how 
scant  the  eyelashes  and  eyebrows,  I  will  increase 
their  length  and  thickness  in  30  days — or  not  accept 
a  single  penny.  No  "ifs,"  "ands,"  or  "maybes."  It 
is  new  growth,  startling  results,  or  no  pay.  And  you 
are  the  sole  judge. 

Proved  Beyond  the  Shadow  of  a  Doubt 

Over  ten  thousand  women  have  tried  my  amazing 
discovery,  proved  that  eyes  can  now  be  fringed  with 
long,  curling  natural  lashes,  and  the  eyebrows  made 
intense,  strong  silken  lines  1  Read  what  a  few  of 
them  say.  I  have  made  oath  before  a  notary  public 
that  these  letters  are  voluntary  and  genuine.  From 
Mile.  Hefflefinger,  240  W.  "B"  St.,  Carlisle,  Pa.: 
"I  certainly  am  delighted  ...  I  notice  the  greatest 
difference  ...  people  I  come  in  contact  with  remark 
how  long  and  silky  my  eyelashes  appear."  From 
Naomi  Otstot,  5437  Westminster  Ave.,  W.  Phila., 
Pa.:  "I  am  greatly  pleased.  My  eyebrows  and 
lashes  are  beautiful  now."  From  Frances  Raviart, 
R.  D.  No.  2,  Box  179,  Jeanette,  Penn.:  "Your  eye- 
lash and  evebrow  beautirier  is  simply  marvelous." 
From  Pearl  Provo,  2954  Taylor  St.,  N.  E.,  Minne- 
apolis, Minn.:  "I  have  been  using  your  eyebrow  and 
eyelash  Method.  It  is  surely  wonderful."  From 
Miss  Flora  J.  Corriveau,  8  Pinette  Ave.,  Biddeford, 
Me.:  "I  am  more  than  pleased  with  your  Method. 
My  eyelashes  are  growing  long  and  luxurious." 

Results  Noticeable  in  a  Week 

In  one  week — sometimes  in  a  day  or  two — you 
notice  the  effect.  The  eyelashes  become  more  beau- 
tiful— like  a  silken  fringe.  The  darling  little  upward 
curl  shows  itself.  The  eyebrows  become  sleek  and 
tractable — with  a  noticeable  appearance  of  growth 
and  thickness.  You  will  have  the  thrill  of  a  life- 
time— know  that  you  can  have  eyelashes  and  eye- 
brows as  beautiful  as  any  you  ever  saw. 

Remember  ...  in  30  days  I  guarantee  results  that 
will  not  only  delight,  but  amaze.  If  you  are  not 
absolutely  and  entirely  satisfied,  your  money  will 
be  returned  promptly.  I  mean  just  that — no  quibble, 
no  strings.  Introductory  price  $1.95.  Later  the 
price  will  be  regularly  $5.00. 


$5.00.  _  /7 


Grower  will  be  sent  C.  O.  D.  or  you  can  send 
money  with  order.  If  money  accompanies  order 
postage  will  be  prepaid. 

r-------------------------i 

LUCILLE  YOUNG, 

646  Lucille  Young  Building,  Chicago,  111. 
Send  me  your  new  discovery  for  growing  eye- 
lashes and  eyebrows.    If  not  absolutely  and 
entirely  satisfied.  I  will  return  it  within  30  days 
and  you  will  return  my  money  without  question. 

Price  C.  O.  D.  is  SI. 95  plus  few  cents  postage. 
If  money  sent  with  order  price  is  $1.95  and  post- 
age is  prepaid. 

State  whether  money  enclosed  or  you  want 
order  C.  O.  D  


Name_ 


St.  Address_ 


City_ 


122 


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later  he  was  working  at  Paramount  with 
Von  Sternberg  when  a  letter  came  to  him 
from  his  sister  who  was  in  Bulgaria.  She 
had  seen  the  Bebe  Daniels  picture,  rec- 
ognized him,  and  her  letter  contained  news 
of  his  family.  His  mother,  eighty  nine  years 
old,  was  in  prison.  By  that  time,  Alexander 
had  become  a  citizen  of  the  United  States. 
He  sent  the  ransom  money  required  for 
his  mother's  release  and  heard  that  it  had 
been  received  but  his  mother  had  died  very 
soon  afterwards.  Her  sufferings  had  been 
too  great  for  her  advanced  years  to  bear. 

And  then  there  is  Winifred  Laurance, 
now  enjoying  the  distinction  of  being  the 
first  woman  to  become  an  assistant  director. 
She  is  assisting  Fred  Zelnik  in  the  foreign 
version  of  "The  Case  of  Sergeant  Grischa." 
Winifred  was  born  in  Japan  but  her  mother 
was  Russian  and  her  father  English.  When 
war  broke  out  in  Japan,  Winifred's  mother 
escaped  with  the  child  to  her  own  country 
and  got  there  just  in  time  for  the  outbreak 
of  the  Revolution.  They  escaped  to  France. 
When  Winifred  grew  old  enough  she 
learned  shorthand  but  declares  she  was  very 
bad  at  it.  She  has  a  very  positive  and  earn' 
est  personality  which  inspires  confidence, 
so  she  was  always  able  to  get  good  jobs. 
She  was  working  for  an  executive  from 
First  National  in  Paris  for  a  short  time, 
and  he  was  so  impressed  with  her  ability 
that  he  told  her  if  she  ever  came  to  Amer- 
ica  and  wanted  a  job,  to  look  him  up. 
Now  Winifred  had  had  her  eye  on  Amer' 
ica  for  a  long  time  but  she  wasn't  worrying 
about  it.  She  believes  that  one  cannot 
want  anything  very  badly  and  not  get  it; 
so  she  was  thrilled  but  not  surprised  when 
a  friend  booked  passage  for  the  States  and 
asked  Winifred  to  be  her  guest.     If  she 


could  get  a  job  she  was  to  stay  in  America; 
if  not  she  was  to  return  with  her  friend. 
But  the  First  National  executive  was  as 
good  as  his  word  and  twelve  days  after 
landing  in  this  country  Winifred  was  work- 
ing at  the  studio. 

"I  am  so  glad  I  was  not  born  in  this 
country."  she  told  me,  ^'because  then  I 
would  not  have  had  the  thrill  of  coming 
here.  I  don't  think  Americans  realize  what 
we  feel  when  we  embark  for  this  country. 
America  is  like  heaven  to  us.  Standing 
on  the  deck  of  the  Berengaria  as  we  pulled 
out  I  heard  a  mighty  wave  of  song  pour 
from  the  throats  of  the  third-cabin  pas- 
sengers. Members  of  every  nation  in 
Europe  were  joining  in  that  hymn  of 
thanksgiving.  It  happened  that  I  was  a 
guest  of  a  wealthy  woman  and  was  on  the 
top  deck,  but  I  belonged  down  there  with 
those  countrymen  of  mine  who  had  suffered 
as  my  mother  and  I  had.  I  could  hardly 
bear  to  be  up  there  where  men  and  women 
appeared  so  bored  with  life  that  even  get- 
ting up  in  the  morning  was  irksome.  What 
did  they  know  of  crushed  hopes  and 
crushed  hearts  and  bitter  striving?  There 
they  sat,  mannequins,  faintly  amused  by  the 
enthusiasm  of  the  immigrants.  But  I  wanted 
to  be  down  there  with  them.  I  wanted 
to  sing  with  them,  and  I  did." 

So  here  they  are,  not  bitter,  not  re- 
vengeful, not  boastful,  not  proud.  Eagerly 
looking  for  a  chance  to  be  themselves, 
having  it  in  their  power  to  give  richly  to 
the  country  they  have  so  proudly  adopted. 
So  when  you  see  those  I  have  mentioned 
or  any  others  that  space  forbids  mention  of, 
give  them  a  hand,  for  both  the  men  and  the 
women  are  true  soldiers  on  the  battleground 
of  life,  and  they  are  our  countrymen  now. 


The  Girl  With  the  Turned-Up  Nose 

Continued  from  page  83 


work,  repeated  successes  and  an  astonish- 
ing personality  she  has  built  tremendous 
success. 

The  firm  determination  that  carried  her 
from  her  place  as  a  stage-struck  society 
girl  to  one  of  the  few  big  favorites  of  the 
screen  is  shown  in  every  decision  she  ever 
has  formed. 

If  Ruth  Chatterton  were  a  man,  she 
would  be  the  head  of  a  great  business 
corporation.  Being  a  woman,  she  is  at  the 
head  of  her  chosen  career.  She  is  one 
of  those  fortunate  few  who  can  accomplish 
anything  they  want  to  do.  She  wins  at 
every  point.    She  is  a  born  leader. 

Miss  Chatterton's  closest  friend  is  Lois 
Wilson,  who,  although  she  hates  to  have  it 
said,  has  intelligence  far  beyond  the  average 
degree.  During  her  years  in  Hollywood, 
she  has  known  everybody.  According  to 
Miss  Wilson,  of  all  the  women  she  knows, 
Miss   Chatterton   is   the   most  interesting. 

Aloofness  is  Ruth  Chatterton's  predom- 
inant characteristic.  'Ritzy,'  according  to 
many  who  don't  understand  her.  But  her 
'Ritzy'  air  is  just  the  working  of  a  defi- 
nite, sincere  mind.  She  walks  very  swiftly 
toward  her  destination  with  the  business 
of  her  next  appointment  always  on  her 
mind.  She  is  formal  to  everyone  in  public. 
Certain  property  men  and  certain  other 
persons  from  every  walk  of  life  are  classi- 
fied by  Ruth  Chatterton  as  her  friends. 
Honesty  is  held  above  everything  else  in 
her  mind.  She  hates  the  obvious.  She 
selects  her  friends  by  their  sincerity  and 
honesty.  And  she  helps  them  in  every 
way  she  can.  She  is  very  frank.  She 
will  tell  you  without  hesitation  if  she  likes 


or  dislikes  you.     And  she  tells  you  why. 

People  are  interesting  to  Ruth  Chatter- 
ton. At  the  first  meeting,  she  studies 
everyone  with  whom  she  comes  in  contact. 
The  knowledge  from  this  course  in  hu- 
man character  she  uses  in  her  screen  work 
and  in  selecting  her  friends. 

At  present,  one  of  Ruth  Chatterton's 
friends  is  a  young  Los  Angeles  newspaper 
writer,  eighteen  years  old.  His  inexperience 
and  youth  rob  him  of  the  importance  other 
dramatic  writers  are  given  by  officials  and 
stars  of  the  studios.  But  to  Ruth  Chat- 
terton, his  sincerity  has  made  him  one  of 
her  personal  friends.  Frankness  first  at- 
tracted Miss  Chatterton's  attention  to  him. 
He  came  to  interview  her  last  June.  She 
could  plainly  see  that  he  was  a  little  un- 
easy in  her  presence.  He  told  her  so. 
Openly,  he  asked  her  if  she  were  'Ritzy.' 
She  joked  with  him  to  make  him  lose  his 
embarrassment,  gave  him  the  best  interview 
he  ever  had  and  asked  him  to  come  to  her 
beach  house  the  next  Sunday.  And  he 
spent  every  Sunday  of  that  summer  at  her 
beach  house.  In  him,  she  sees  possibilities 
and  realizes  that  he  is  now  at  the  turning 
point  in  his  life.  With  encouragement,  she 
says  he  will  develop  into  a  great  success. 

As  with  this  young  man,  so  to  all  people 
climbing  upward,  personal  contact  with 
Ruth  Chatterton  is  a  shock  of  inspiration. 
She  fires  people  with  an  ambition  because 
she  is  a  great  person.  Immediately,  she 
gives  one  confidence  that  he  can  be  as 
great  as  she. 

Into  her  social  life,  Ruth  Chatterton 
carries  her  definite  personality.  Among  the 
stage  stars  who  have  come  to  Hollywood 


for    June    193  0 

for  talking  pictures,  Miss  Chatterton  is  the 
leader.  She  knows  everybody.  One  look 
at  Ruth  Chatterton's  dressing  room  on  the 
Paramount  'lot''  and  Francis  Starr  wanted 
to  remain  in  Hollywood  forever.  Some  of 
Miss  Chatterton's  friends  from  the  stage 
who  have  come  to  Hollywood  are  Fay 
Bainter,  Katherine  Cornell,  Elsie  Janis,  and 
Helen  Hayes. 

Ruth  Chatterton's  group  not  only  in' 
eludes  stage  celebrities.  For  years  she  has 
been  the  center  of  a  group  of  noted  col- 
umnists, authors  and  artists.  The  Chat- 
terton home  in  Beverly  Hills  is  the  ren- 
dezvous for  the  intelligentsia.  The  clique 
of  friends  to  which  Miss  Chatterton  and 
Ralph  Forbes,  her  husband,  belong,  in- 
clude Florence  Vidor,  Jascha  Heifetz, 
Ronald  Colman,  Lois  Wilson,  William 
Powell,  John  Colton,  the  author  of  "Rain" 
and  "The  Shanghai  Gesture,"  Richard 
Barthelmess  and  his  wife.  When  he  is  on 
the  west  coast,  Maurice  Chevalier  and  his 
wife  are  included  in  the  gatherings.  Every 
Sunday  during  the  summer,  this  group  con- 
gregates at  the  Chatterton-Forbes  Malibu 
beach  house.  The  entire  day  is  spent  in- 
formally. Each  guest  does  what  he  wants. 
For  the  -greater  portion  of  the  time,  the 
hostess  lies  reading  in  the  sands.  She 
keeps  herself  well  posted  in  the  current 
novels  and  plays.  In  this  manner,  Ruth 
Chatterton  'loafs'  wholeheartedly. 

When  she  works,  she  works  intensely. 
There  are  no  in-between  moments  on  the 
set.  She  either  is  working  out  the  present 
scene  with  the  director  or  preparing  for 
the  following  sequences.  She  gives  sincere 
concentration  to  her  role  and  a  great  deal 
of  assistance  to  her  director. 

The  remarkable  power  of  Ruth  Chat- 
terton's determination  benefits  her  many 
times  each  day.  Last  summer,  she  decided 
upon  a  tan  and  the  result  was  the  most 
perfect  tan  in  Hollywood.  One  actress 
tried  desperately  to  equal  her  tan  but 
emerged  with  only  a  burn.  During  some 
of  her  vacations,  she  writes  plays,  one  of 
which  has  been  accepted  by  the  New  York 
Theater  Guild.  She  also  composes  music. 
She  is  an  enthusiastic  patroness  of  the 
Hollywood  Bowl  concerts.  Jack  King,  who 
has  the  song  How  Am  I  To  Know?  to  his 
credit,  is  a  great  friend  of  the  star.  It 
is  said  that  his  famous  piece  was  dedicated 
to  her.  Another  of  the  Chatterton  accom- 
plishments is  a  lovely  soprano  voice,  which 
will  be  heard  from  the  screen  in  "Sarah 
and  Son,"  her  new  vehicle. 

A  keen  insight  into  the  good  sportsman- 
ship of  Ruth  Chatterton  is  a  story  Guy 
Bates  Post  enjoys  telling.  A  number  of 
stage  stars  were  attending  a  benefit  given 
in  Chicago  a  number  of  years  ago.  Each 
star  was  throwing  a  fit  because  he  couldn  t 
appear  first  and  go  home.  While  all  the 
other  stars  were  bothering  the  stage  mana- 
ger about  the  promptness  of  their  appear- 
ance, Post  noticed  a  girl  sitting  very  quietly 
to  one  side.  Inquiring,  he  found  her  name 
was  Ruth  Chatterton.  He  went  over  to 
where  she  was  sitting  and  remarked  that 
it  was  too  bad  that  she  had  to  wait  so  long. 
He  was  astonished  by  her  answer:  "It's 
a  benefit  for  charity  and  I  can  wait  while 
anybody  takes  my  place.  I  can  go  on 
whenever  they  are  ready  for  me." 

All  through  her  life,  the  power  of  Ruth 
Chatterton's  personality  has  made  a  smooth 


path  to  her  success.  This  schoolgirl,  who 
accepted  a  dare,  was  thrown  immediately 
in  the  midst  of  well-seasoned  theatrical 
folks.  She  had  many  lessons  to  learn  during 
the  long  hours  of  fatiguing  rehearsals. 
But  she  stuck  it  out  through  a  long,  tedious 
winter  and  spring  of  a  musical  stock  com- 
pany's wanderings. 

One  year  later,  she  decided  to  break 
away  from  musical  shows  and  applied  for 
small  parts  in  a  stock  company  with 
Lowell  Sherman,  Pauline  Lord  and  Lenore 
Ulric.  With  these  players,  .she  learned  the 
technique  of  the  drama,  a  priceless  appren- 
ticeship for  an  untutored  girl  of  fifteen. 

Even  in  the  overcrowded  atmosphere  of 
the  Broadway  legitimate  shows,  ability  is 
quickly  singled  out.  Ruth  Chatterton's 
rise  was  meteoric.  She  was  starred  at 
eighteen.  Her  outstanding  role  was  as 
leading  woman  for  Henry  Miller  in  "Daddy- 
Long-Legs."  Her  first  starring  vehicle  was 
"Come  Out  Of  The  Kitchen,"  which  has 
been  made  into  the  all-dialogue  musical  ro- 
mance with  Nancy  Carroll  called  "Honey." 

Miss  Chatterton  made  a  perfect  heroine 
for  such  plays  as  Sir  James  M.  Barrie's 
"Mary  Rose"  and  "The  Little  Minister." 

Cleverly,  Ruth  did  not  let  Broadway  see 
too  much  of  her.  She  often  vacationed 
in  Europe;  many  months  were  spent  in 
France  where  she  studied  the  language 
seriously.  This  fluent  knowledge  of  French 
led  to  her  own  translation  of  "La  Tend- 
resse,"  which  she,  herself,  produced  and 
played  the  starring  role. 

After  a  number  of  successes  in  New 
York,  the  .star  came  to  Los  Angeles  to 
appear  in  "The  Green  Hat"  and  "The 
Devil's  Plum  Tree."  In  the  meantime,  she 
had  married  Ralph  Forbes,  the  handsome 
young  English  actor,  who  was  appearing 
in  motion  pictures  in  Hollywood. 

While  both  she  and  her  husband  were 
playing  the  leading  roles  in  "The  Green 
Hat,"  they  bought  a  home  in  Beverly  Hills. 
Frequent  trips  back  to  the  New  York  stage 
kept  Miss  Chatterton  from  her  new  home, 
but  her  recent  affiliation  with  Paramount 
has  made  it  possible  for  her  to  enjoy  its 
luxury.  At  present,  she  is  supervising  the 
redecoration  of  the  interior  of  this  home. 

Towards  the  end  of  the  engagement  of 
"The  Devil's  Plum  Tree"  in  Los  Angeles, 
Emil  Jannings  was  an  interested  member 
of  the  audience.  He  asked  Paramount  to 
sign  the  star  of  the  play  for  the  leading 
role  in  "Sins  of  the  Fathers."  Following 
her  entry  into  motion  pictures,  John  Colton 
refused  to  have  his  play,  "The  Devil's 
Plum  Tree,"  produced  in  New  York  with- 
out Miss  Chatterton  playing  the  leading 
role. 

The  success  of  this  actress  has  shown 
just  how  well  she  adapted  herself  to  the 
screen.  She  has  used  her  lovely  voice  in 
"The  Doctor's  Secret,"  "Madame  X," 
"Charming  Sinners,"  "The  Laughing  Lady" 
and,  now,  "Sarah  and  Son." 

She  says  the  hardest  picture  of  all  was 
"Sins  of  the  Fathers"  because  it  was  silent. 
She  is  very  much  interested  in  talking 
pictures. 

According  to  present  indications,  Ruth 
Chatterton's  versatility  will  make  her  stay 
on  the  talking  screens  for  quite  some  future 
years.  She  is  definite  and  real — an  actress 
first,  a  personality  second. 

Ruth  Chatterton  —  fascinating!  vivid! 
subtle!  aloof! 


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The  next  issue  of 
SCREENLAND 
Will  Be  On  Sale  June  1 


We  Want  Buddy!  — Continued  from  page  21 


had  started. 

But  it  hadn't.  Two  girls,  more  daring 
than  the  rest,  had  started  to  climb  up  the 
fire  escape  which  they  hoped  led  to  Buddy's 
room.  As  they  got  pretty  far  up  the  side 
of  the  tall  building,  one  of  the  girls  looked 
down.  The  distance  to  the  ground 
frightened  her — and  she  fainted!  The 
other  one  lost  her  head  and  started 
screaming. 

Oh,  it  was  a  great  week  for  the  doorman 
at  the  Brooklyn  Paramount  Theater! 

"What  makes  the  women  that  way  about 
Buddy?"  is  the  question  everybody  is 
asking. 

I  had  seen  him  on  the  screen  and 
thought  he  was  a  likeable  enough  young 
man.  But  so  are  William  Haines,  Gary 
Cooper,  Ramon  Novarro,  and  a  dozen 
others.  Yet  no  single  male  screen  star 
since  Wally  Reid  and  Valentino  has  so 
emotionally  upset  the  femininity  of  the 
country  as  this  twenty-five  year  old  boy. 

There's  nothing  of  the  Don  Juan-Casa- 
nova  quality  about  Buddy.  He's  as  far 
from  a  lady-killer  as  it's  possible  for  any 
man  to  be.  He  doesn't  quote  poetry,  ply 
you  with  liquor,  stare  you  in  the  eyes 
passionately,  drop  into  poses,  or  do  any- 
thing in  any  way  to  enmesh  your  interest. 
He  isn't  a  marvelous  raconteur,  he  doesn't 
magnetize  with  his  personality,  his  voice 
isn't  glamourous — but  once  you  see  him, 
it's  all  off. 

Yes.  I  fell,  too.  Hard!  I  went  there 
prepared  not  to  like  the  boy.  I  expected 
to  find  a  mentally  narrow-guaged,  ham 
actor.  I  came  away  thinking  Buddy  was 
the  finest  boy  I  had  ever  met.  And  I 
don't  care  what  he  does,  tomorrow,  next 
week,  or  twenty  years  from  now.  Nobody 
and  no  occurence  can  change  that  opinion. 
For  Buddy  is  fundamentally  right.  That's 
why  the  crowd  falls  for  him! 

You  can  dress  up  a  gigolo.  You  can 
put  striped  trousers  on  his  legs,  a  morn- 
ing coat  on  his  back,  a  silk  hat  on  his 
head  and  patent  leather  shoes  on  his  feet. 
You  can  stick  a  hundred  dollar  bill  in  his 
pocket  and  force  light  fawn-colored  gloves 
on  his  hands.  But  even  thrusting  real 
pearl  studs  into  the  starched  shirt  front 
of  a  gigolo  won't  change  him  into  a  gentle- 
man. He  won't  be  real.  And  he  won't 
be  able  to  make  a  screen  audience  accept 
him  as  real. 

The  secret  of  Buddy's  screen  success  is 
his  realness,  his  fundamental  honesty. 
Girls  know  that  Rogers  is  a  man  they  can 
stake  their  last  card  on.  I  would  trust 
that  boy  with  my  pocket  book,  my  honor, 
and  my  little  sister — if  I  had  one! 

Buddy  is  loyal,  decent,  kind,  with  fine 
susceptibilities.  Buddy  is  the  sort  of  man 
who  never  lets  a  woman  down.  The  sort 
you  can  absolutely  depend  on.  He's  not 
urbane.  He  never  will  be  urbane.  He  is 
of  small  town  frame  and  fibre,  thank  good- 
ness. He's  the  sort  of  boy  every  normal 
girl  who  knows  her  onions  wants  to  marry. 

If  Buddy  had  stayed  in  Olathe  and  not 
gone  into  pictures,  he  would  still  have  been 
a  success.  Back  in  that  small  town  he 
would  by  now  own  the  leading  newspaper, 
or  dry-goods  store,  or  garage.  He  would 
have  plenty  of  insurance  on  his  life.  He 
would  be  an  usher  in  the  church  and  he 
would  never  be  behind  on  his  pew  rent. 
He'd  own  a  nice  home,  probably  with  both 
mortgages  paid  off  by  now.  He'd  own 
a  good  car — and  he  wouldn't  have  bought 
it  on  instalments.  He'd  belong  to  a  good 
country  club.    He'd  play  a  good  game  of 


golf,  a  good  game  of  tennis,  a  good  game 
of  bridge  and  poker.  He'd  take  maybe 
one  cocktail,  maybe  two.  But  he  would 
know  where  to  stop.  He  wouldn't  be  a 
genius  at  anything  but  he  would  be  a  good 
all-'round  guy  at  nearly  everything. 

He's  the  kind  of  man  who  would  be- 
come engaged  to  one  girl,  marry  her,  love 
her  even  when  she  was  the  fat  mother  of 
five  children,  and  no  matter  how  prosper- 
ous he  got,  he  wouldn't  be  ashamed  to  sit 
on  the  front  porch  on  a  hot  summer's 
evening  with  his  feet  on  the  rail  and  his 
coat  off. 

"What  about  this  marriage  business?" 
I  asked  Buddy  in  his  dressing  room,  after 
his  act  was  finished. 

"Why  —  why,  I  don't  know,"  he 
answered,  somewhat  flustered,  with  his 
cheeks  going  a  little  pink.  "I  never  got 
married  because  I've  never  been  in  love — 
yet." 

"Didn't  you-  ever  even  think  you  were 
in  love?"  I  asked  again. 

"Honest- — I  never  did,"  he  replied,  look- 
ing me  straight  in  the  eyes.  "Of  course," 
he  amended,  "when  I  went  to  school,  to 
the  University  of  Kansas,  I  met  a  lot  of 
nice  girls  and  maybe  there  were  one  or 
two  I  liked  better  than  the  rest,  but — it 
wasn't  love,"  he  added  significantly.  "I'll 
know  that  when  I  meet  it." 

Then  he  changed  the  tenor  of  the  con- 
versation as  if  he  were  a  little  ashamed 
of  being  so  serious: 

"Aw,  shucks,  I  don't  want  to  think  about 
getting  married  for  five  or  six  years  now. 
Papa  has  given  up  his  business  and  come 
out  to  California  to  be  my  business  mana- 
ger, mother  keeps  house  for  me,  my  kid 
brother  lives  with  me,  and  every  now 
and  then  my  married  sister  and  her  two 
kids  come  out  to  visit.  We're  so  happy 
now,  I  don't  like  to  think  of  anything 
changing  —  until  something  really  big 
knocks  me.  over." 

"What  kind  of  girls  do  you  like  best?" 
I  persisted. 

"All  kinds,"  he  came  back  quickly. 
"Out  in  Hollywood,  there's  a  bunch  of 
girls  I  like  to  go  around  with:  June 
Collyer,  Mary  Brian — but  I  can't  say  what 
type  of  girl  I  like  best.  I  don't  really 
know." 

"Well,  what  kind  would  you  like  to 
marry?"  I  kept  on. 

"I'll  tell  you.  I  don't  know  if  I'd  like 
to  marry  a  blonde  or  a  brunette  or  a  red- 
haired  girl,  but  I'd  like  to  marry  a  girl 
who  was  musical,  for  the  first  thing.  I'm 
crazy  about  music.  I'd  like  her  to  be  a 
working  girl  for  the  second,  on  the  screen, 
or  the  stage,  or  in  business — so  she'd  know 
what  this  business  of  making  a  living  is  all 
about.  And  third,  I'd  like  my  wife  to  ride 
horseback  and  play  tennis  and  swim.  I'd 
like  just  a  regular  girl." 

The  strange  thing  about  Buddy  is  that 
men  like  him  almost  as  well  as  women. 
When  he  was  here,  Milton  Schrekinger,  a 
Western  Union  telegraph  boy,  number  one 
thousand  and  fifty-four  to  be  exact,  was 
one  of  the  many  hundreds  who  wanted  to 
meet  Buddy. 

He  tried  every  way  he  could  think  of — 
to  no  avail.  Finally  he  hit  on  a  fool- 
proof idea.  He  sent  Buddy  a  telegram  and 
delivered  it  himself! 

When  he  walked  into  Buddy's  dressing 
room  he  was  so  fussed  he  couldn't  say  a 
word — just  stood  there. 

Buddy  gave  him  a  tip  and  then  read  the 


for    June  1930 


12? 


telegram,  which  of  course  didn't  mean  any- 
thing to  him. 

Still  the  boy  stood  around:  "Ain't 
there  any  answer,  sir?" 

"Why — no,  there  isn't.  I  can't  quite 
make  the  message  out." 

Then  seeing  how  kind  Buddy  really 
looked,  the  messenger  boy  explained.  Buddy 
was  pleased  and  touched,  gave  the  boy  an 
autographed  picture,  and  sent  him  away 
happy.  Making  Milton  Schrekinger  the 
umptyumpth  thousandth  person  in  New 
York  who  finds  life  a  pleasanter  thing  just 
because  one  Buddy  Rogers,  a  boy  from 
Olathe,  Kansas,  came  to  town! 

Manhattan  Merry -Go- 
Round 

Continued  from  page  53 

That  one  with  the  down-on-the-farm  head 
is  Marc  Connolly.  Good,  old  Marc!  He's 
got  a  hit — "The  Green  Pastures."  Of 
course,  you  simply  must  see  that,  honey. 
That  funny,  little  one — that's  Aleck  Wooll- 
cott.  So  amusing.  But  you  can  keep  this 
up  far  into  the  night,  for  the  celebs  seem 
under  contract  to  stay  until  all  the  cus- 
tomers get  a  look. 

Then  there's  the  Theater.  Always  with 
a  capital  T.  That's  the  excuse  for  coming 
to  New  York.  We  all  miss  the  Theater 
so  in  Hollywood,  don't  we?  Anyway,  it's 
part  of  the  game  to  see  at  least  two  shows 
a  day.  And  if  one  closes  another  opens, 
so  there's  generally  enough  to  go  'round. 
Right  now  the  stars  are  publicly  praising 
and  privately  panning  "June  Moon," 
"Strictly  Dishonorable,"  "The  Last  Mile," 
"The  Green  Pastures,"  "Sons  o'  Guns" — 
and — well,  there's  three  days'  work,  right 
there. 

So  after  the  matinee,  there's  just  time 
for  tea  at  the  Ritz.  Good  old  Ritz!  So 
different  from  the  Brown  Derby.  So  sans 
culotte,  as  the  French  say.  The  chef  d'ouvre 
or  head-waiter,  doesn't  quite  recall  you? 
But  you  say,  "Has  dear  Vincent  been  (pro- 
nounce it  bean)  in  yet?"  and  maybe  he'll 
think  you  really  know  Mr.  Astor  and  put 
you  among  the  Who's  Who,  instead  of 
over  there  with  the  Here's  How.  Or  maybe 
you'd  rather  be  over  there.     You  would! 

After  several  hours  trying  to  get  back 
home  in  a  cab,  you  have  just  time  for  a 
'tub'  and  to  dress  for  dinner,  at  the  Crillon, 
say,  or  the  Caviar,  depending  on  the  mood 
of  the  moment.  And  after  that  a  night 
club,  of  course.  The  place  where  Jimmy 
Durante  works  but  can't  pronounce  is  a 
spot.  Then  there's  always  Harlem.  If  you 
want  to  be  real  low-down,  and  sing  If- 
The-Folks-Back-Home-Could  -  Only  -  See  -  Me- 
Now,  there's  the  Clam  House  and  the 
Jungle  Club,  very  vodeodopee.  Or  if  you 
want  to  take  it  in  small  doses  until  you 
get  used  to  it,  try  the  Cotton  Club,  or  The 
Nest.  Many  have,  and  we've  had  no  com- 
plaints. 

This,  of  course,  can  go  on  until  morn- 
ing. Not  only  can — but  does.  If  you  run 
short  of  addresses,  just  ring  any  bell  in  the 
basement  of  a  brown-stone  house  between 
Forty-third  and  Fifty-ninth.  A  pleasant 
game  is  for  one  group  to  play  one  side  of 
the  street,  and  another  the  other.  Recently 
the  south  side  of  the  street  totalled  more 
spots  to  the  mile — but  the  bacardi  was  bet- 
ter on  the  north  side.  There's  one  house 
with  a  sign  reading  'This  is  a  Private  Resi- 
dence.' But  don't  pay  any  attention.  The 
owner  is  just  having  his  fun. 

You'll  probably  end  up  at  Dave's  Blue 
Room  for  Virginia  ham   and   eggs.  Just 


It  Was  the  Greatest  Shock 

of  My  Life  to  Hear  Her  Play 

— how  had  she  found  time 
to  practice  f 

<<II7ELL,  Jim,  I  told  you  I  had  a  surprise 
»»  for  you!" 

Quite  casually  she  had  gone  to  the  piano,  sat 
down — and  played  !  Played  beautifully — though 
I  had  never  seen  her  touch  a  piano  before. 

"When    did   you  find   time   to   practice  ?"  I 
asked.     "Who  is  your  teacher?" 

"I  have  no  teacher"  she  explained.  "That  is,  no 
private  teacher.  I  learned  to  play  the  piano  an  entirely 
new  simplified  way.  You  see.  some  time  ago  I  saw  an 
announcement  of  the  TJ.  S.  School  of  Music.  It  told 
how  half  a  million  people  had  learned  to  play  their 
favorite  musical  instrument  during  their  spare  time 
without  a  teacher.  And  so  I  decided  to  enroll  for  a 
course  in  piano  playing." 

"But  you  didn't  tell  me  anything  about  it,"  I  said. 

"You  know  I've  always  wanted  to  play,"  she  an- 
swered.   "And  I  thought  I'd  surprise  you." 

"Well,  you've  certainly  succeeded."  I  had  to  admit. 
"And  to  think  that  only  a  short  time  ago  you  couldn't 
play  a  note!  What  a  surprise  it  will  be  to  all  your 
friends!" 


This  story'  is  typical.  You, 


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mention  my  name  to  Dave  or  Joe,  the 
headwaiter,  and  hell  give  you  an  extra 
egg.  Dave,  himself,  typifiies  Broadway 
from  the  spats  to  the  cigar.  And  the  Blue 
Room  is  the  roundezvous  for  all  those  who 
stay  out  in  the  Big  City  after  ten  P.M. 
You'll  see  the  Glorified  Girls  after  the  show, 
with  either  millionaires  or  mothers  or  both. 
You'll  hear  Joe  Frisco  stutter,  and  see  Wal- 
ter Winchell  making  colyum  notes  left' 
handed.  The  entire  Main  Stem  congregates 
at  Dave's  just  as  the  lights  in  Edison  Alley 
are  dimmed  by  dawn. 

Maybe  you'll  wake  up  a  bit  weak.  But 
don't  give  in.  Remember  this  is  your  va' 
cation  from  Hollywood.  Soon  you'll  be 
back  in  that  terrible  sunshine  among  those 
awful  flowers,  with  nothing  to  do  for  ever 
so  long  except  count  up  your  salary  and 
see  if  they  slipped  in  an  extra  thousand 
dollar  bill  by  mistake  or  on  purpose.  Prob- 
ably by  mistake. 

You'll  be  feeling  better  by  noon,  and 
the  short  walk  to  Sardi's  will  do  you  good. 
Better  'phone  Mario  for  a  table,  otherwise 
you'll  find  yourself  way  over  in  a  corner 
under  George  Jessel's  picture.  Here  you'll 
surely  meet  some  so-called  souls  from  Holly- 
wood. For  Sardi's  is  the  checking-in  place. 
Ask  Rene,  the  red-headed  hat  bandit,  who's 
here.    She  knows  'em  all  . 

A  minor  pastime  at  Sardi's  is  to  check 
the  mugs  against  the  pictures.  The  hos- 
pitable walls  are  what  may  be  called 
adorned  by  oodles  of  caricatures  done  by 
Gard,  the  Russian  artist,  who  hasn't  paid 
for  a  meal  in  three  years.  He  has  a  con- 
tract with  Senor  Sardi  by  which  he  swops 
art  for  artichokes.  It  stipulates  that  the 
pictures  must  be  acceptable  to  Sardi — and 
the  food  to  Gard.  Neither  have  kicked 
so  far. 

On  the  walls,  then,  are  drawings — some 
cruel,  some  kind,  some  merely  amusing — 
of  every  character  on  Broadway  from  the 
old  gray  Mayor  to  Tammany  Young.  And 


if  you  look  closely,  you'll  recognize  most 
of  the  pictures  in  the  flesh,  for  the  patrons 
come  in  regularly  to  see  that  their  carica- 
tures retain  preferred  space.  On  your  way 
out,  tip  Rene  liberally  and  ask  to  see  her 
autograph  album.  But  don't  look  at  the 
page  devoted  to  Peter  Arno! 

You  won't  have  to  watch  your  Bulova 
for  matinee  time.  You'll  see  Dorothy  Hall 
and  all  the  theater  stars  running  along  in 
time  for  the  curtain,  and  all  the  theaters 
are  right  handy.  Afterward,  unless  you 
want  to  ring  door-bells  or  re-visit  some  of 
last  nights  discoveries  to  find  whose  coat 
you  wore  home,  you'll  get  tea  and  things 
at  the  Ambassador  or  the  Plaza,  maybe. 
Good  old  Plaza.  So  different  from  Henry's. 
So  pasta,  fagiole,  as  the  dear  Italians  say. 
And  speaking  about  Italy,  a  good  place  for 
dinner  would  be  one  of  the  many  spaghetti 
places.  Red  wine,  you  know — and  plenty 
wopee. 

Of  course,  there  are  other  things  to  see 
in  New  York.  The  Flea  Circus,  and  the 
Aquarium.  But  there  are  plenty  of  fish 
in  Hollywood.  In  fact,  there  are  plenty  of 
fleas,  too.  There  are  just  as  good  fleas  in 
Hollywood  as  any  caught  on  Forty-second 
Street.  Or  is  that  adage  about  fish?  I 
forget. 

But,  as  a  rule,  that's  about  all  the  visit- 
ing stars  see  of  New  York.  Grand  Central 
— first  and  last;  the  hotel,  theater,  tea,  din- 
ner, night-club,  hotel,  headache.  Of  course, 
some  play  the  police  stations.  One  actor 
put  on  such  a  good  act  in  an  uptown 
station-house  that  they  wanted  to  book  him 
down  at  Forty-seventh  street.  However, 
most  of  'em  are  like  the  guy  who  digga 
da  ditch  to  getta  da  mon'  to  buya  da  grub 
to  getta  da  strength  to  digga  da  ditch. 
They  get  on  the  good  old  merry-go-round 
when  they  hit  town,  and  when  they  board 
the  Century  for  back  home,  they  take 
along  happy  memories,  and  a  lot  of  brass 
rings  entitling  them  to  another  ride. 


Hard  Work— That's  All 


Continued  jrom  page  63 


of  the  day  is  breakfast — often  served  at 
seven  o'clock  so  she  will  not  be  late  to 
the  studio.  Breakfast  includes  fruit  juice, 
a  small  steak,  hot  buttered  toast  and  warm 
milk.  For  luncheon — usually  eaten  at  the 
studio — she  prefers  a  fruit  or  a  vegetable 
salad  with  an  oil  dressing.  Dinner  at  night 
is  a  modest  repast.  Billie  demands  a  soup, 
a  chop,  a  salad  and  a  fruit  of  some  kind. 
The  star's  cook  has  no  worries  when  it 
comes  to  concocting  a  tasty  sweet.  Billie 
Dove  refuses  to  eat  pastries.  (Part  of 
the  upkeep,  stranger!) 

While  we  are  spying  on  the  star's  do- 
mestic life,  a  glimpse  into  the  privacy  of 
her  mansion  might  be  interesting.  One  of 
the  most  amusing  rooms  is  humorously 
dubbed  the  Ego  Chamber.  It  is  so-called 
because  of  the  numerous  portraits  of  Billie 
and  the  scenes  from  her  screen  successes 
which  adorn  the  walls.  Another  room  of 
interest  is  the  red  room  on  the  second 
floor,  exquisitely  appointed,  and  which  has 
the  appearance  of  the  private  sanctum  of 
a  Chinese  mandarin.  Here  our  spy  beholds 
red  elephants,  a  Buddha  shrine,  exotic  in- 
cense burners,  Chinese  prints,  gay  pillows 
and  a  comfortable  divan.  Billie  calls  it 
her  Yes  Room  because  it  was  here  that  she 
answered  the  phone  when  an  executive  of 
First  National  Pictures  called  to  ask  her 
if  she  would  sign  her  first  starring  contract. 
Billie  answered,  "Yes!" 

To  return  to  the  subject  of  this  mono- 


graph: Drudge  or  Drone?  one  will  observe 
that  Billie  Dove  drudged  through  no  end 
of  discouragements  since  her  early  days  in 
New  York  when  she  began  posing  for 
commercial  photographers,  illustrators  and 
artists,  went  to  school  between  poses  and 
specialized  in  dancing.  Came  a  day  when 
someone  connected  with  Professor  Zieg- 
feld's  "Follies"  saw  a  photograph  of  her 
in  an  advertisement.  She  gave  up  her 
course  in  secretarialship  and  in  dancing 
and  joined  the  "Follies,"  only  to  be  snapped 
up  by  a  motion  picture  producer. 

To  be  signed  for  the  movies  and  to  be 
a  box-office  success  are  two  widely  different 
things.  And  that  is  what  brings  us  to 
our  chosen  subject:  drudgery.  At  the  be- 
ginning, Billie  Dove  was  what  is  known 
in  the  parlance  of  the  movies  as  a  more 
or  less  complete  'flop.'  She  was  released 
from  her  contract.  An  abandoned  beauty, 
to  give  it  a  Byronic  touch.  She  free- 
lanced at  various  studios  and  made  some 
'horse  operas'  with  Tom  Mix.  Then  came 
"The  Wanderer  of  the  Wasteland,"  the 
first  successful  color  picture,  but  which 
failed  to  make  a  success  of  Billie.  She 
received  no  offers  when  it  was  released. 

The  star's  next  opportunity  came  when 
Douglas  Fairbanks  selected  her  as  his  lead- 
ing lady  in  "The  Black  Pirate."  Well, 
she  looked  very  beautiful.  One  could  not 
deny  that.  But  no  studio  seemed  to  cry 
for  her.     They  said   she   could   not  act. 


for    ]une    19  30 


127 


Evidently,  Billie  overheard  them,  took  the 
hint,  and  began  acting  before  the  privacy 
of  her  mirror.  (Drudgery?) 

Came  a  day  in  1926  when  that  oY  davil 
sun  came  out  for  the  heroine  of  this  schol- 
arly rhapsody.  Billie  finished  a  picture 
called  "The  Marriage  Clause,"  and  almost 
every  company  in  Hollywood  wanted  her. 
Billie  blinked  her  lustrous  orbs  and  signed 
a  contract  with  First  National  as  a  featured 
player — not  a  star — and  made  "An  Affair 
of  the  Follies."  After  seeing  her  fine  per- 
formance in  that  picture,  the  company 
clapped  its  hands,  tore  up  the  old  contract, 
and  made  her  a  star  with  all  of  the  trim- 
mings. It  has  been  said  that  this  came 
about  through  the  demand  of  exhibitors 
all  over  the  country.  And  when  exhibitors 
demand  things — well,  they  usually  get  what 
they  want. 

Before  she  knew  it,  Billie  Dove  gradu- 
ated from  being  a  Small-Time  Drudge  to 
a  Big-Time  Drudge.    She's  been  in  the  big 


money  ever  since.  When  the  talking  pic- 
tures came  and  caused  more  consternation 
in  California  than  did  the  San  Francisco 
fire,  Billie  Dove  retired  to  her  Yes  Room. 
and  went  into  conference  with  her  vowels, 
the  a-e-i-o-u  terrors.  And  when  that  was 
done,  she  went  for  the  consonants,  put 
them  over  her  knee  and  gave  them  what 
is  now  known  as  a  Dove  Larruping. 

Today,  as  history  states,  things  seem  to 
be  all  right.  Billie  has  made  such  a  care- 
ful study  of  Drudgery  and  its  relation  to 
Dronery,  that  no  one  is  surprised  any  more, 
no  matter  what  happens.  Miss  Dove  has 
carefully  regulated  systems  which  run  like 
clockwork,  unless  some  old  meanie  at  the 
studio  says,  "Miss  Dove,  your  company 
is  working  until  midnight  tonight."  When 
that  happens,  Billie  laughs  it  off  with  a 
gesture  of  gayety,  hies  herself  to  a  corner 
and  thinks  wistfully  of  that  European  va- 
cation she  has  long  been  promising  herself 
but  has  not  yet  enjoyed.  Secretly  she  may 
have  ambitions  to  become  a  Drone! 


The  Most  Famous  Movie  Fan  in  the  World 


Continued  from  page  19 


to  the  North  Country  where  Eskimos  wor-  technical  ideas  in  it  than  any  picture  that 

ship  welcoming  the  coming  of  the  sun,  of  has  ever  been  produced.  Photographically 

life,  of  whatever  to  them  is  God!  it  is  terribly  good.    The  camera  angles  are 

"In  the  political  aspect  of  the  film  we  get  splendid  and  its  elasticity  is  amazing.  The 

the  same  terrifying  closeness  of  every  per-  camera  never  stands  still,  neither  the  ac- 

son  in  the  world.   First,  we  see  a  Japanese,  tion  camera  nor  the  sound  camera.  For 

giving  a   political  talk  on  the  streets   of  instance,  they  will  start  singing  a  chorus 

Tokio.    Next,  we  are  switched  to  Lenin-  of  one  of  Nelson's  popular  songs.  The 

grad  where  a  spellbinder  hands  out  a  new  first  three  words  will  be  sung  by  a  woman 

Soviet  prophecy.    Immediately,  we  are  car-  in  a  butcher  shop.     The  next  three  by  a 

ried  to  England  where  in  a  leafy  garden  paper   hanger,   hanging   his   paper.  The 

Bernard  Shaw  carries  on  a  political  argu-  next  by  a  milk  boy,  delivering  his  milk, 

ment  with  a  friend.  The    sound    acts    as    the    medium.  The 

"From  this  we  realize  how  many  people  sound  is  the  thread  that  draws  everything 
in  the  world  are  heated  up  over  political  together.  The  sound  is  the  element  that 
issues  and  none  of  them  is  getting  anywhere  makes  the  picture  fourth  dimensional, 
at  all.  Such  things  are  superb  for  inter-  "First  we  will  see  the  City  of  Cologne — ■ 
national  release.  It  gives  you  a  breadth  shots  showing  the  modern  industry  of  the 
of  vision  which  you  cannot  possibly  ob-  city.  Then  without  regard  to  time  we  are 
tain  in  university  classes.  You  derive  a  swung  back  five  centuries,  where  the  cam- 
certain  kind  of  human  comedy  which  you  era  will  be  placed  before  an  old  baronial 
can  never  discover  in  text  books.  There  castle  on  the  Rhine.  Immediately,  we  see 
are  no  comments  in  the  pictures,  no  ed-  footmen  in  the  costume  of  the  fifteenth 
itorials.  The  world  is  laid  bare  before  your  century.  We  see  a  woman  sit  down  and 
eyes,  in  its  strength,  in  its  weakness.  And  play  a  delicate  air  on  an  old  spinet,  ob- 
it is  impossible  for  any  thinking  person  not  solete  these  many  years.  At  the  same  in- 
to get  a  tremendous  titillation  out  of  it.  stant,   almost,   we  cut  back  to  something 

"Nor  is  this  true  only  of  what  one  absolutely  modern  but  the  melody  ties  the 
might  call  serious  pictures.  One  of  the  whole  structure  together.  And  instead  of 
most  infinitely  touching  films  I  ever  saw  confusion  we  have  a  poetic  thread  of  con- 
was  a  German  two-reel  comedy  made  also  tinuity  and  beauty  which  is  infinitely 
by  Taubus,  called  'Wenn  Nelson   Spielt, '  touching. 

or  'When  Nelson  Plays.'     Nelson  is  the  "But  no  matter  what  good  pictures  are 

Irving  Berlin  of  Germany,  the  most  popu-  made  in  Europe,  they  will  always  love  our 

lar  song  writer  in  that  country.  pictures  best.     Our  pictures  have  a  child' 

"Now  here  in  America  for  the  same  sort  like  appeal  that  is  very  attractive  to  old 

of  picture  we  should   probably  open   up  civilizations.     It's  like  a  tired  man  of  the 

with  an  actor  sitting  in  front  of  a  tele-  world  looking  at  a  Christmas  tree.  The 

phone  singing  'I'm  All  Alone  by  the  Tele-  tree  has  a  half-forgotten,  childlike  appeal 

phone.'     But  in   Germany,   they  use  the  to  him — even  when  he  laughs  at  it.  Our 

sound  as  the  hac\bone  of  the  picture,  weav-  pictures  rest  the  tired  brains  of  Europe, 

ing  around  it  poetry,  love,  color,  struggle,  I    think    they    are    marvelous.     There  is 

by  the  use  of  simile  and  metaphor.     It  a  strength  in  their  prettiness  that  is  stronger 

sounds  confusing  but  it  isn't.    For  the  sound  and  more  necessary  to  human  nature  than 

centers   your   interest.     The   sound    gives  the  morbidity  of  the  Russians  and  Ger- 

cohesion.     The  sound  opens  up  your  im-  mans;  and  it  is  because  of  this  strength 

agination  absolutely  to  limitless  worlds.  that  I  have  become  a  passionate  talking 

"  'Wenn  Nelson   Spielt'  has  more  new  picture  fan!" 

~>  =h- 

Harold  Seton  Says: 

Many  motion  picture  stars  suffer  from  "inflammatory  rumors." 

John  Barrymore  always  takes  sides— because  of  his  profile. 
Joan  Crawford  and  Marie  Dressier  are  members  of  the  Stick  family — Lip  and  Slap. 


The  Loveliest 
EYES 

TuTOTION  picture  di 

rectors  have  said  that 
Katherine  MacDonald 
has  the  loveliest  eyes  in 
the  world.  For  years  she 
has  used  her  own  lash 
cosmetic. 

Absolutely  waterproof. 
Will  not  stiffen  or  break 
lashes,  but  leaves  them 
soft  and  natural.  Makes 
your  eyes  alluring  pools 
of  loveliness. 

SKATIHERJNE  MacDOWAIUD'S 

fLAS  H  (watebpboof) 
COSMETIC 

  At  most  Toilet  Goods  Counters 

Katherine  Mac  Donald,  Hollywood7Calif.    _ "~ 
Here  is  $1.  Send  me  □  Brown  □  Black 
full-sized  bottle  of  your  Lash  Cosmetic. 


EZY-2TAN 


NO  ■  1 

Greasy 


Events 
SUNBURN 


DEAFNESS  IS  MISERY 

Multitudes  of  persons  with  defective  hearing 
and  Head  Noises  enjoy  conversation, 
go  to  Theatre  and  Church  because  they 
Use  Leonard  Invisible  Ear  Drums  which 
I  resemble  Tinv  Megaphones  fitting 
m  the  Ear  entirely  out  of  sight 
No  wires,  batteries  or  head  piece 
They  are  inexpensive.   Write  for 
booklet  and  sworn  statement  of 
the  inventor  who  was  himself  deaf. 

A.  0.  LEONARD,  Inc.,  Suite  184  70  5th  Ave.,  New  York 


SupQrfluoujHAIR'allGONE 


Mahler  method,  which  kills  the 
hair  root,  prevents  hair  from 
growing  again.  Use  it  privately 
in  your  home. 

Send  today  3  red  stamps  for 
Free  Bnoldet 
We  Teach  Beauty  Culture 


D.  J.  MAHLER  CO..  36-B  Mahler  Park,  Providence.  R. 


"GIRL  PICTURES" 

Art  pictures  and  Bathing  beau- 
ties 25  cents   (coin).  Money 
refunded    if    dissatisfied.  Photo 
Sales  Co.,  P.  0.  Box  744-F,  Chicago, 
111. 


(AdeL  (WML 


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WONDER 
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FRECKLES,  PIMPLES, 
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Wonder  Peel  Paste  gives  new  life  and  youth 
to  aging  faces 
No  failure,  No  redness  afterwards,  Price  $5 

527  W.  7th      Dept.  22  Los  Angeles.  Calif. 


128 


SCREENLAND 


HAVE  PRETTY  ROUND 
FACE  AND  NECK 

Abolish  ugly  hollows 

MISS  Gonzales  of  Reno, 
Nevada,  writes:  "I 
have  used  Tiffany  Tissue 
Builder  only  two  weeks  and 
already  it  has  filled  out 
my  sunken  cheeks  and  re- 
moved wearied,  worn-out 
lines  that  woman  dreads. 
I  used  to  look  so  old  for 
my  age.  but  now  am  proud 
of  my  appearance." 

<aHB    .ry  You,    too.    can  abolish 

sunken  cheeks,  thin  necks, 
~- ^ hollow  shoulders.    No  diet- 
ins  or  tiresome  exercise  is 
necessary.     Simply  apply  and  massage  Tiffany 
Tissue  Builder  wherever  you  want  to  develop 
more  flesh. 

Results  guaranteed  or  your  money  promptly  refunded  if 
you  are  not  deliithted  after  four  weeks  use.  Price  $3.00. 
Send  check,  nv.ney  order  or  currency  and  we  will  send  pre- 
paid. If  you  prefer,  send  no  money  but  deposit  W.UU  plus 
few  cents  postage  with  postman  when  he  delivers  it. 

TIFFANY  LABORATORIES,  Inc. 

II34-C  Hanna  Bldg.  Cleveland,  0. 


"MOVIE  STARS  PHOTOGRAPHS 

FREE   WITH   EVERY  ORDER  OF  $2.00  AM  8X10 
Original  Photographs 

4  for  50c  9  for  $1.00 

20  for  $2.00       31  for  $3.01' 
51  for  $5.00 
55  Different  roses  of 
Itudolph.  Valentino 


Billie  Dove 


John  Gilbert 


HOLLYWOOD  SCREEN  EXCHANGE 
Drawer  V-l,  Dept.  F  Hollywood.  Calif.,  U.  S.  A. 

— STATEMENT  OF  THE  OWNERSHIP, 
MANAGEMENT,  CIRCULATION,  ETC.,  RE- 
QUIRED BY  THE  ACT  OF  CONGRESS  OF 
AUGUST  24,  1912,  of  SCREENLAND,  published 
MONTHLY  at  NEW  YORK,  N.  Y.,  for  April 
1  1930.  State  of  New  York,  County  of  NEW 
YORK,  ss.  Before  me,  a  NOTARY  in  and  for 
the  State  and  county  aforesaid,  personally  ap- 
peared ALFRED  A.  COHEN,  who,  having 
been  duly  sworn  according  to  law,  deposes  and 
says  that  he  is  the  BUSINESS  MANAGER  of 
SCREENLAND  and  that  the  following  is,  to  the 
best  of  his  knowledge  and  belief,  a  true  state- 
ment of  the  ownership,  management  (and  if  a 
daily  paper,  the  circulation),  etc.,  of  the  afore- 
said publication  for  the  date  shown  in  the  above 
option,  required  by  the  Act  of  August  24,  1912, 
embodied  in  section  411,  Postal  Laws  and  Regu- 
lations, printed  on  the  reverse  of  this  form,  to 
wit:  1.  That  the  names  and  addresses  of  the 
publisher,  editor,  managing  editor,  and  busi- 
ness managers  are:  Publisher,  SCREENLAND 
MAGAZINE,  INC.,  45  WEST  45TH  STREET, 
NEW  YORK,  N.  Y. ;  Editor,  DELIGHT 
EVANS,  45  WEST  45TH  STREET,  NEW 
YORK,  N.  Y. ;  Managing  Editor,  DELIGHT 
EVANS,  45  WEST  45TH  STREET,  NEW 
YORK,  N.  Y. ;  Business  Manager,  ALFRED  A. 
COHEN,  45  WEST  45TH  STREET,  NEW 
YORK,  N.  Y.  2.  That  the  owner  is:  (If  owned 
by  a  corporation,  its  name  and  address  must  be 
stated  and  also  immediately  thereunder  the 
names  and  addresses  of  stockholders  owning  or 
holding  one  per  cent  or  more  of  total  amount 
of  stock.  If  not  owned  by  a  corporation,  the 
names  and  address  of  the  individual  owners 
must  be  given.  If  owned  by  a  firm,  company, 
or  other  unincorporated  concern,  its  name  and 
address,  as  well  as  those  of  each  individual 
member,  must  be  given.)  SCREENLAND 
MAGAZINE,  INC.,  45  WEST  45TH  STREET, 
NEW  YORK,  N.  Y. ;  WILLIAM  GALLAND, 
1133  BROADWAY,  NEW  YORK,  N.  Y.  3. 
That  the  known  bondholders,  mortgagees,  and 
other  security  holders  owning  or  holding 
1  per  cent  or  more  of  total  amount  of  bonds, 
mortgages,  or  other  securities  are:  (If  there 
are  none,  so  state)  NONE.  4.  That  the  two 
paragraphs  next  above,  giving  the  names  of 
the  owners,  stockholders,  and  security  holders, 
if  any,  contain  not  only  the  list  of  stockholders 
and  security  holders  as  they  appear  upon  the 
books  of  the  company  but  also,  in  cases  where 
the  stockholder  or  security  holder  appears  upon 
the  books  of  the  company  as  trustee  or  in  any 
other  fiduciary  relation,  the  name  of  the  person 
or  corporation  for  whom  such  trustee  is  acting, 
is  given;  also  that  the  said  two  paragraphs  con- 
lain  statements  embracing  affiant's  full  knowl- 
edge and  belief  as  to  the  circumstances  and 
conditions  under  which  stockholders  and  security 
holders  who  do  not  appear  upon  the  books  of 
the  company  as  trustees,  hold  stock  and  securi- 
ties in  a  capacity  other  than  that  of  a  bona  fide 
owner;  and  this  affiant  has  no  reason  to  believe 
that  any  other  person,  association,  or  corpora- 
tion has  any  interest  direct  or  indirect  in  the 
said  stock,  bonds,  or  other  securities  than  as  so 
stated  by  him.  ALFRED  A.  COHEN,  Business 
Manager.  Sworn  to  and  subscribed  before  me 
this  eighteenth  dav  of  March,  1930.  (SEAL). 
Notary  Public,  NATHAN  REIGROD,  N.  Y. 
Co.  Clk's  No.  55,  Reg.  No.  1R3.  Commission 
expires  March  30,  1931. 


Happy  Milestones  —  Continued  from  page  89 


home!"  kidded  Allan. 

Marie  Prevost  was  present  with  Buster 
Collier.    She  was  looking  gorgeously  pretty. 

Supper  was  served  at  little  square  tables 
or  in  your  lap,  as  you  preferred,  since  it 
was  buffet. 

"I  like  taking  my  plate  and  running  to 
a  corner  where  there  are  people  I  like,  and 
where  people  who  like  me  can  find  me," 
remarked  Patsy. 

A  colored  orchestra  played  wonderful 
dance  music,  and  there  was  some  entertain- 
ment  by  colored  singers  and  dancers,  so 
that  we  had  a  chance  to  rest  between 
dances. 

Ben  Lyon  arrived,  very  late,  and,  of 
course,  went  straight  over  to  Bebe  and 
kissed  her.  Then  he  told  her  that  he  had 
a  present  outside  for  her,  but  couldn't 
bring  it  in. 

"Must  be  a  horse,"  suggested  Bebe. 

It  wasn't,  though,  but  Bebe  just  couldn't 
wait  to  find  out — had  to  run  outdoors  and 
see  her  gift.  It  turned  out  to  be  a  Ford 
town  car,  all  too  cute  and  snug  for  any 
thing,  and  Bebe  was  delighted. 

Marie  Mosquini  suggested  that  Ben  give 
Bebe  a  chauffeur  next  Christmas,  but  Bebe 
said  she  already  had  a  chauffeur — all  srie 
really  needed  was  a  car! 

Everybody  lingered  as  long  as  there  was 
any  excuse,  but  finally  we  all  had  to  say 
goodnight,  somebody  calling  out,  "Hurrah 
for  Bebe!    Bebe  Daniels  forever!" 

"I  should  say  not — Bebe  Daniels  for- 
ever!" exclaimed  Ben,  putting  his  arm 
around  Bebe  and  the  accent  on  the 
'Daniels.' 

Patsy  and  I  heard  that  Ruth  Roland  and 
Ben  Bard  were  planning  a  party  to  be 
given  in  the  very  same  room  at  the  Beverly- 
Wilshire  Hotel  where  they  were  married. 
It  was  to  be  an  anniversary  party — their 
first  anniversary — and  as  nearly  as  possible 
the  .same  guests  were  to  be  present  as  looked 
on  at  their  wedding. 

We  were  delighted  at  receiving  our  in- 
vitations, therefore,  and  when  we  heard 
from  Georgie  Stone,  and  heard  that  he 
wished  to  be  our  escort,  we  were  more 
pleased  than  ever. 

"Georgie  isn't  a  romantic  figure,"  Patsy 
remarked,  "but  he's  heaps  of  fun,  and  as 
for  this  party,  he  must  be  hankering  to 
have  a  little  romantic  relief  injected  into 
his  comedy  life!" 

Ruth  and  Ben,  we  found,  had  taken  over 
the  whole  mezzanine  floor  for  their  party, 
so  that  we  had  private  dressing  rooms,  a 
large  drawing  room,  and,  of  course,  the 
lovely  Gold  Room,  in  which  Ben  and  Ruth 
were  married,  and  which  was  now  to  serve 
as  the  ball  room  and  dining  room. 

Our  host  and  hostess  met  us  and  greeted 
us  with  warm  hospitality,  there  in  the  draw- 
ing room,  and  there  we  found  a  lot  of 
people  already  ahead  of  us. 

"I  think  that  Ben  and  Ruth  are  very 
happy,"  Patsy  whispered.  "And  isn't  Ruth 
looking  blooming  these  days!" 

We  said  hello  to  Harold  Lloyd  and  his 
wife,  Mildred,  and  asked  Harold  if,  as  we 
had  heard,  he  meant  to  make  an  aviation 
picture. 

"I  should  say  not!"  Mildred  spoke  up 
anxiously. 

We  asked  about  little  Gloria,  their 
daughter,  and  Mildred  said  she  meant  to 
send  her  to  school  next  year — to  the  pub- 
lic school. 

We  chatted  next  with  Mr.  and  Mrs. 
Gus  Edwards,  and  Mrs.  Edwards  told  us 


how  Lila  Lee  had  prophesied  that  Mildred 
would  be  famous  in  pictures. 

"We  were  at  the  Orpheum  one  after- 
noon," she  said,  "and  saw  a  very  pretty 
girl  sitting  opposite  us.  That  was  before 
Mildred  had  played  in  pictures.  Lila 
exclaimed:  'oh,  see  that  pretty  girl!  She'll 
be  in  pictures  some  day!'  " 

Douglas  Fairbanks,  Jr.,  and  Joan  Craw- 
ford were  there,  and  danced  together  all 
evening,  seeming  quite  as  passionately  de- 
voted to  each  other  as  ever.  I  don't  think 
either  danced  with  anybody  else,  and  I  must 
say  they  stepped  beautifully. 

Kay  Hammond,  who  is  to  play  Mrs. 
Lincoln  in  Griffith's  "Abraham  Lincoln," 
was  among  the  guests,  having  arrived  with 
her  nice  husband,  Henry  Weatherby,  of 
the  old  California  family  of  Weatherbys. 
Miss  Hammond  is  well  known  as  an  actress 
in  Los  Angeles  and  Hollywood,  where  she 
has  played  many  leading  roles. 

Robert  Leonard  and  Gertrude  Olmstead 
were  there,  and  Connie  Keefe,  who  had 
brought  Dorothy  Phillips,  Helen  Ferguson. 
Lois  Weber  and  Capt.  Gantz,  Jack  White 
and  Pauline  Starke,  Mr.  and  Mrs.  Hal 
Roach,  Billie  Dove,  William  K.  Howard 
and  his  wife,  Gloria  Hope  and  Lloyd 
Hughes,  and  many  others. 

The  supper  tables  were  beautifully  decor- 
ated  with  flowers,  and  the  orchestra  played 
many  of  the  same  airs  they  had  played  at 
Ruth  and  Ben's  wedding. 

We  sat  near  Gus  Edwards  and  his  wife 
at  dinner,  and  when  the  fish  course  arrived, 
Gus  said  that  we  were  "eating  Noah 
Beery's  little  protegees!"  Noah  owns  a 
big  ranch  with  fishing  streams,  you  know. 

Georgie  Stone  got  the  orchestra  to  play 
"School  Days,"  and  all  the  dancers  joined 
hands  in  a  circle  and  danced  around  like 
kids. 

There  was  some  entertainment  afterward 
by  the  talented  hostess  and  her  guests,  Ruth 
singing  charmingly  for  us,  and  Gus  Edwards 
doing  a  comic  number  or  two. 

A  lot  of  amusing  fooling  took  place  when, 
as  dinner  progressed,  somebody  suggested 
that  Gus  Edwards  act  as  master  of  cere- 
monies. Gus  Edwards  arose,  but  passed  the 
honor  on  to  Ben  Bard,  who  in  turn  gravely 
wished  it  onto  Lew  Cody,  who  rose  with 
great  dignity — and  nominated  W.  K. 
Howard.  Howard  made  a  delightful  little 
speech,  prefacing  it  with  the  remark  that 
he  would  "now  tell  a  slight  story!" 

One  of  the  most  interesting  guests  was 
an  elderly  actor,  eighty-three  years  old,  but 
so  charming  and  lively  that  one  would  have 
thought  him  many  years  younger.  His  name 
is  Andrew  Waldron,  and  Ruth  calls  him 
her  protege!  It  seems  that,  when  Ruth 
was  a  tiny  child  on  the  stage,  after  her 
mother  passed  away,  Waldron  and  his  wife 
took  her  under  their  wing  when  she  had 
to  go  out  on  the  road.  She  never  forgot 
this  kindness,  and  has  kept  in  touch  with 
her  benefactors  ever  since. 

It  was  ever  so  much  o'clock  when  Georgie 
looked  at  his  watch. 

"The  wee,  sma'  hours  will  soon  be  large 
hours!"  he  remarked.  And  we  left  along 
with  most  of  the  other  guests,  after  drink- 
ing to  the  health  of  Ben  and  Ruth,  who 
are  as  blooming  and  happy  a  couple,  I'm 
sure,  as  Hollywood  has  ever  seen.  "Have 
an  anniversary  party  every  year!"  sang  out 
Doug,  Jr.,  "I'll  come  and  and  bring  you  a 
present  even  when  you  have  your  diamond 


anniversary 


I" 


"If  you  have  your  movie  telescope  out, 
you  know  that  there  is  a  new  movie  star 


for    June  1930 


129 


arising  on  the  horizon!"  exclaimed  Patsy. 
"She  is  Judith  Barrie,  who  did  so  nicely 
in  'Party  Girl,'  and  who  is  going  to  be 
starred  by  the  Halperins  for  Inspiration 
Pictures." 

"Well,  I'm  pleased  to  hear  it,"  I 
answered,  "but,  after  all,  what  has  that  to 
do  with  us?" 

"We're  invited  to  a  nice  party  given  for 
her  tonight  by  the  Halperins,  this  being 
her  birthday,  and  she  being  just  twenty- 
one." 

Victor  Halperin  dwells  in  a  picturesque 
Spanish  house  in  a  fashionable  part  of  Los 
Angeles,  and  it  was  there  the  festivities 
were  to  occur. 

Judith  is  a  lovely  blonde  with  a  lot  of 
personality,  and  with  ways  that  win  you 
completely,  and  she  greeted  us  so  sweetly 
that  we  instantly  decided  that,  so  far  as  we 
were  concerned,  she  was  a  star  already. 

Harry  Langdon  and  his  beautiful  wife 
were  there,  and  Joan  Crawford  and  Douglas 
Fairbanks,  Jr.,  Elmer  Harris,  the  playwright, 
and  his  wife,  Mr.  and  Mrs.  Victor  Schertv 
inger,  and  many  others. 

Harry  Langdon  is  always  a  tremendous 
lot  of  fun  at  a  party.  It  isn't  only  that 
he  does  amusing  stunts,  like  singing  and 
doing  his  funny  ventriloquial  act,  but  he 
has  a  line  of  quaint  humor  that  is  like  no- 
body else's. 

"Most  comedians  in  real  life  are  inclined 
to  be  so  dead  serious  or  so  high-brow," 
commented  Joan  Crawford,  "but  Harry's 
humor  just  bubbles." 

Harry  told  us  about  the  studio  buying 
some  pigs  for  a  picture,  and  how  they  had 
to  buy  more  before  the  picture  was  finished 
because  the  pigs  grew  so  fast. 

"That  worried  one  official  terribly,"  re- 
lated Harry,  "so  that  he  bought  up  one  of 
the  big  pigs,  thinking  he  could  rent  him 
for  a  picture.  But  he  didn't  have  any  luck, 
so  it  got  so  that  after  a  while  every  story 
we'd  write  he'd  come  and  listen  to  it,  and 
exclaim,  every  once  in  a  while,  'Oh,  there's 
a  fine  spot  for  a  pig!'  " 

Mrs.  Langdon  was  a  widow  with  twol 
little  daughters  when  Harry  married  her 
recently,  and  she  told  us  that  her  children 
simply  adored  Harry — that  his  home-coming 
at  night  was  always  the  signal  for  a  romp. 

"Are  you  ever  serious?"  we  asked  him. 

"Oh,  yeah,  and  dignified,  too,  when  I'm 
alone.  But  if  I  try  to  be  dignified  before 
people,  I  always  fall  over  a  chair  or  some- 
thing," he  explained  with  a  grin. 

Dinner  was  served  at  little  square  tables, 
set  in  the  drawing  room,  and  we  had  a  lot 
of  chance  to  chat  quietly  with  pretty  Judith. 
We  find  that  she  is  a  very  cultured  young 
person,  a  musician  and  acquainted  with 
languages,  so  that  it  looks  as  though  she  has 
a  bright  future. 

We  played  a  game  while  we  ate.  For 
on  our  tables  were  little  fortune-telling  dolls 
in  the  shape  of  gypsy  women  with  wide 
skirts,  the  skirts  being  made  up  of  printed 
leaves  on  which  answers  to  questions  were 
printed.  You  read  the  questions  from  little 
slips,  and  then  turned  the  doll  around  to 
your  astrological  birth-sign,  which  was 
printed  on  the  paste-board  pedestal,  and 
read  the  answers  to  them. 

Mrs.  Wyatt  Brewster,  one  of  the  guests, 
is  Victor  Schertzinger's  sister,  and  looks  ex- 
actly like  him,  by  the  way.  She  plays  the 
harp  beautifully,  and  when  dinner  was  over, 
she  obligingly  played  the  instrument,  which 


had  been  trundled  over  that  afternoon. 

Harry  Langdon  sang  some  amusing  songs, 
among  them  a  weird  burlesque  comic  one 
called  "Murder,"  after  which  he  did  a  funny 
ventriloquial  stunt,  using  one  of  Victor's 
child's  dolls,  as  he  hadn't  his  celebrated 
dummy,  'Mike,'  with  him. 

He  told  us  about  kidding  with  his  ven- 
triloquism in  a  hotel — how  he  had  left  his 
door  open  for  the  benefit  of  the  Irish 
chambermaid  who  was  working  across  the 
hall,  pretending  he  was  kissing  a  girl  and 
she  was  trying  to  get  away. 

"But  the  joke  was  on  me,"  said  Harry, 
"since  she  called  the  house  detective,  who 
insisted  on  searching  my  room!" 

Mr.  and  Mrs.  Halperin  proved  ideal 
hosts,  and  we  spent  a  most  delightful 
evening. 

"Ona  Brown  is  giving  Doris  Arbuckle, 
Roscoe's  divorced  wife,  a  birthday  party," 
Patsy  told  me,  "and  just  everybody  will  be 
there.  It's  to  be  tomorrow  night,  so  don't 
forget  to  do  your  hair  in  curl  papers  to- 
night!" 

The  party  was  held  in  the  private  suite 
at  the  Roosevelt,  in  Hollywood,  and  special 
maids  and  waiters  had  been  engaged  for  the 
occasion. 

Ona  greeted  us,  looking  pretty  in  a  green 
evening  gown,  made  long,  with  a  swirling 
skirt,  and  Doris  herself  was  prettier  than 
ever  in  a  white  beaded  silk  gown.  Al  Hall 
had  been  her  escort.  In  fact,  Al  seems 
to  be  her  favored  admirer  these  days. 

Al  was  in  the  throes  of  being  assistant 
host,  and  Doris  said:  "He's  working  so 
hard  that  I  almost  cry  every  time  I  look 
at  him!" 

Kathryn  Crawford  was  there  with  her 
fiance,  Wesley  Ruggles,  and  we  asked 
Kathryn  about  her  long  lost  mamma,  re* 
cently  found. 

"Oh,  I'm  trying  to  make  mamma  go 
Hollywood  and  accept  invitations  out  to 
parties,"  said  Kathryn,  "but  she  likes  to 
stay  at  home." 

Crushes  of  guests  arrived,  including  Nor- 
man Kerry,  Skeets  Gallagher  and  his  wife, 
Frank  Mayo  and  his  wife,  Margaret;  Sally 
Eilers,  who,  of  course,  came  with  Hoot 
Gibson;  Sally  Blane,  whose  escort  I  did 
not  see;  Harvey  Barnes,  Tom  and  Mrs. 
Miranda,  William  Haines,  Roger  Davis, 
Priscilla  Dean  and  Lieut.  Leslie  Arnold, 
Charles  and  Hazel  Dorian;  Felix  Hughes 
and  his  wife,  Ruth  Stonehouse;  Natalie 
Kingston  and  her  husband,  George 
Andersch,  the  banker;  Loris  and  Finis  Fox, 
and  a  score  of  others. 

Buster  Collier  brought  Marie  Prevost. 

"You  know  they  are  together  all  the 
time,"  whispered  Patsy.  "I  think  it's  really 
a  case." 

Nearly  all  the  feminine  guests  wore 
gardenias,  and  presently  a  gardenia  contest 
was  inaugurated.  It  was  found  that  Doris 
was  wearing  the  most,  but  that  Natalie 
Kingston's  flowers  were  the  largest. 

"One  nice  thing  about  gardenias,"  said 
Priscilla  Dean  thriftily,  " — if  you  wear 
them,  you  don't  have  to  use  any  perfume!" 

We  dined,  buffet,  in  the  big  drawing 
room  of  the  suite,  and  went  down  stairs 
to  the  Rose  Room  to  dance,  or  stopped 
cosily  in  the  party  room  to  chat. 

"Altogether,"  said  Norman  Kerry  "(to 
Doris,  as  he  took  his  leave,  "we  wish  you 
a  long  life — especially  if  you  have  a  party 
every  year!" 


Read  Grace  Kingley's  gossip  every  month  and  keep  up 
with  the  social  life  of  the  screen  stars. 


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130 


SCREENLAND 


You  are  Cordially  Invited 


OF  course  we  are  all  proud  of  our  own  home 
towns,  but  few  of  us  want  to  be  called 
provincial.  The  good  things  of  life  come  only 
to  those  of  us  who  are  ambitious  enough  to  want 
them,  and  such  folks,  you  will  note,  are  usually  world' 
minded,  world-conscious.  They  want  to  know  what's 
going  on  across  the  street,  around  the  corner,  in  our 
neighboring  countries  and  over  the  seas.  Nothing  can 
get  by  them! 

<C  And  nothing  is  so  challenging  as  the  tremendous  progress 
that  the  motion  picture  screen  has  made  in  its  influence 
upon  the  lives  of  humanity's  millions.  It  is  the  one  thing 
that  can  always  be  talked  about  in  terms  of  millions, 
millions  of  dollars  weekly  for  a  hundred  million  paid 
admissions. 

<C  But  in  this  vast  audience  there's  a  tremendous  class  of 
people  that  stops  to  realise  the  real  greatness  and  the  real 
power  of  the  screen. 

<C  This,  we  feel,  is  the  state  of  mind  of  Screenland's 
readers. 

<(  They  are  motion  picture  fans  because  they  are  also  fans 
of  other  good  magazines,  good  books,  good  music,  good 
radio  entertainment.  They  can  converse  about  current 
events  as  readily  as  they  can  discuss  Greta  Garbo's  first 
talking  film.  They  are  interested  in  the  screen  because  it 
is  so  comprehensive,  because  it  gives  them  everything — ■ 
fiction,  drama,  comedy,  and  the  visual  and  vocal  news  of 
the  world. 

<(  In  other  words,  Screenland  readers  go  to  the  pictures 
not  only  because  they  admire  Garbo  and  Colman  and 
adore  Buddy  Rogers  and  Alice  White.  They  go  as  well 
to  see  the  biggest  bridge  being  built,  to  hear  President 
Hoover's  latest  speech  or  that  of  some  other  country's 
President  or  King.  They  want  to  see  and  hear  what's 
happening  in  the  great  wide  world  around  them,  and  to 
these  intelligent  people  the  screen  means  not  only  amusing 
entertainment,  but  education,  instruction  and  culture, 
painlessly  applied. 

((Have  you  noticed  that  Screenland  is  the  one  screen 
magazine  that  pays  its  readers  the  compliment  of  ta\ing 
for  granted  that  they  are  intelligent  and  alert? 

((  We  follow  every  event  of  the  film  world — not  only  of 
the  interesting,  exciting,  and  colorful  personalities  who 
know  only  the  world  of  Hollywood  and  make  pictures 
about  it;  but  also  those  other  people,  world  celebrities  in 
many  cases,  who  bring  their  genius  to  Hollywood  so  that 
it  can  be  turned  into  picture  material.  If  a  world-famous 
author  is  signed  to  write  original  stories  for  the  screen, 
this  wide-awake  audience  wants  to  be  told  all  about  it. 
What  is  this  celebrity's  reaction  to  Hollywood?  What  does 
he  with  his  interesting  mind  and  far-flung  imagination, 
think  of  cinema  city  and  its  inhabitants?  Of  course  you 
want  to  know! 


And  still  they  come,  celebrities  from  other  fields  to 
enrich  the  screen.    Mary  Lewis,  famous  singer,  is 
welcomed  to  the  Pathe  Studios  by  E.  B.  Derr  and 
Laura  Hope  Crews. 


%  We  told  you  what  the  Grand  Duke  Alexander  of  Russia 
thinks  of  the  screen  as  an  incentive  to  world  peace;  we 
reported,  exclusively,  the  picture  opinions  of  Edgar 
Wallace;  we  gave  you  Captain  Edward  Molyneux's  reac- 
tions on  screen  stars'  wardrobes;  we  first  gave  you  J.  P. 
McEvoy's  observations  on  the  screen  colony;  we  discovered 
Cecil  Beaton's  selection  of  the  six  most  beautiful  women 
in  Hollywood,  passed  it  on  to  you  and  then  followed  it 
with  his  superb  gallery  of  stars'  portraits.  Oscar  Straus, 
world-famous  composer,  became  a  Screenland  contribu- 
tor; and  in  this  issue  Louis  Bromfield,  distinguished  author, 
gives  you  his  Hollywood  impressions. 

((This,  then,  is  our  belief:  that  the  superior  type  of 
motion  picture  devotees  are  Screenland  readers;  that 
they  are  interested  not  only  in  the  love  affairs  of  their 
favorite  stars,  but  in  the  really  worthwhile  events  that 
are  quickly  and  surely  shaping  the  screen  into  one  of  the 
finest  arts.  To  preserve  this  interest,  we  must  give  you  a 
broader  and  truer  picture  of  the  picture  industry  while 
the  stars  are  turning  out  pictures  and  the  world's  great 
minds  are  transmuting  their  talents  into  screen  stories,  sets 
and  scores. 

<CWe  said  you  are  cordially  invited.  In  this  issue,  and 
in  our  next  and  in  all  to  follow,  you'll  meet  more  im- 
portant people,  people  who  will  snap  you  up  out  of  your 
daily  routine  and  make  you  want  to  continue  your  world- 
tour  of  the  mind.  Join  Screenland  in  our  Spring  cruise: 
you'll  visit  many  countries,  meet  fascinating  new  faces  and 
feel  like  a  new  person  yourself.    Come  along! 

The  Publishers. 


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[Six  items  in  miniature  and  "The  Art  of  Make-Up"] 
THE   GEORGE   W.   LUFT  CO.,   DEPT.   S-L.  6 
417    FIFTH    AVENUE     NEW  YORK 


'"1 


tiame  — 
^Address 


t 


SOME  OF  THE 
TECHNICOLOR 
PRODUCTIONS 

BRfDE  OF  THE  REGIMENT,  with  Vivienne  Segal 
(First  National);  BRIGHT  LIGHTS,  with  Dorothy 
Mackaill  (First  National);  DIXIANA,  with  Bebe 
Daniels  (Radio  Pictures)  Technicolor  Sequences; 
GOLDEN  DAWN,  with  Walter  Woolf  and 
Vivienne  Segal  (Warner  Bros.);  HIT  THE  DECK, 
with  Jack  Oakie  and  Polly  Walker  (Radio)  Techni- 
color Sequences;  KING  OF  JAZZ,  starring  Paul 
Whiteman  (Universal!;  MAMBA,  with  Eleanor 
Boardman  and  Jean  Hersholt  (Tiffany);  MAMMY, 
starring  Al  Jolson  (Warner  Bros.)  Technicolor 
Sequences;  PARAMOUNT  ON  PARADE,  all-star 
revue  (Paramount)  Technicolor  Sequences,-  PUTTIN' 
ON  THE  RITZ,  starring  Harry  Richman  (United 
Artists)  Technicolor  Sequences;  RADIO  RAMBLERS, 
with  Bert  Wheeler,  Robert  Woolsey  and  Dorothy 
Lee  (Radio)  TechnicolorSequences;SALLY,  starring 
Marilyn  Miller  (First  National);  SHOW  GIRL  IN 
HOLLYWOOD,  with  Alice  White  (First  National) 
Technicolor  Sequences;  SONG  OF  THE  FLAME, 
with  Bernice  Claire  and  Alexander  Gray  (First 
National);  SONG  OF  THE  WEST,  with  John  Boles 
and  Vivienne  Segal  (Warner  Bros.);  THE  ROGUE 
SONG,  with  Lawrence  Tibbett  and  Catherine 
Dale  Owen  (Metro-Goldwyn-Mayer);  THE 
VAGABOND  KING,  starring  Dennis  King,  with 
Jeanette  MacDonald  (Paramount). 


MAURICE  CHEVALIER — whose  personality  wooed  and  won  the  whole  United 
States  in  his  sensational  Paramount  successes  —  stars  again  in  "Paramount  on  Parade." 

Maurice  Chevalier  was  a  sensation  in  the  drab  black-and-grays. 
But  in  TECHNICOLOR ...  he  steals  your  heart  for  keeps!  For  it  is 
the  real  Maurice  who  carries  you  along  on  the  crest  of  many 
emotions  .  .  .  talking,  laughing,  dancing  .  .  .  singing  his  newest  hit, 
"Sweeping  the  Clouds  Away,"  from  "Paramount  on  Parade."  Tech- 
nicolor, too,  you  realize,  has  "swept  the  clouds  away."  The  dim 
shadows  of  yesterday's  "movie"  today  glow  with  life.  Scenery, 
costumes,  the  characters,  all  seem  to  awaken  as  Technicolor  im- 
parts a  personality  that  is  fresh,  life-like,  enchanting. 

Technicolor 

/>  natural  color 


America's  Smart  Screen  Magazine 


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for    July    19  30 

The  screens  most 
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continues  his 
adventures 

IN  OLD 
ARIZONA 

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OUTDOOR 
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and  Mona  Maris 


Greater  than  "In  Old  Arizona"  and 
"Romance  of  the  Rio  Grande"  —  two 
pictures  that  established  Warner  Baxter 
as  the  supreme  lover  in  outdoor  roles. 

An  ALFRED  SANTELL  oroduction 


4 


July,  1930 


THIS  MONTH'S  PROGRAM: 


Cover  —  Constance  Bennett. 

On  Location  with  Warner  Baxter. 

Painted  by  Rolf  Armstrong 

64 

Sound  News.   By  Evelyn  Ballarine  .... 

6 

Screenland's  Screamies    .  .   

66 

(~!n'WFFc;c;TOMc;  HP  TT-TF  Fam1;      J  Pttprc  ^vnvYi  T{pnr\pr<; 

Q. 
O 

The  Most  Beautiful  Still  of  the  Month  . 

67 

Three  Little  Bennetts  ........ 

1  0 

Marityn  a  TA  A/fnDF    "Marilvn  TsAiller 

68 

Honor  Page  —  John  Barrymore   

1  A 

Billie  Dove  —  A  Portrait  .   

70 

Tub  <m  cno  riDUQc 

1  & 
L  0 

Harold  Lloyd  —  A  Portrait  

71 

EDITORIAL.  By  Delight  Evans  

17 

Greta  Garbo  —  A  Portrait  

72 

No  Beauties  in  Hollywood? 

Gloria  Swanson  —  A  Portrait 

73 

Joy   J.  nomas   l  aluott  

1  Q 
I  O 

Beth  and  Betty  Dodge  —  A  Portrait    .    .  . 

74 

Hollywood  Makes  You  Young  Says  George 

Bessie  Love  —  A  Portrait  

75 

Arliss    An  Tntervipw  hv  Rnsa  Rpillv 

J.  llxi^J    "    .       1  Ill     1111.1,1  V11.W  1— '  V  L\.\~llly 

20 

Clara  Bow  —  A  Portrait  

76 

nuw  /\Kt  iuuk  rircb:   oy  .riimee  lorriani  . 

Barry  Norton  —  A  Portrait   

77 

A  Poet  Goes  to  Hollywood. 

Thelma  Todd  —  A  Portrait  .  . 

78 

Stephen  Vincent  Benet.  By  Rosa  Reilly  . 

24  j 

Basil  Rathbone  —  A  Portrait  

80 

Millionaire  Boys  Make  Good  Movie! 

Lawrence  Gray  —  A  Portrait  

By  Pamela  James  

26 

June  Collyer  —  A  Portrait   

81 

Will  Talkies  Influence  American  Speech? 

Fran\  H.  Vizetelly.  As  told  to  Gray  Strider 

28 

Mary  Lewis  —  A  Portrait  

82 

"Mr.  Von."   Eric  Von  Stroheim. 

Who's  an  Ugly  Ducklinc?  Mary  Lewis. 

By  Helen  Ludlam  

30 

By  Myrene  Wentworth  

83 

Garbo — "Romance."   By  Marie  House    .    .  . 

3  j 

Reviews  of  the  Best  Pictures, 

By  Delight  Evans  

84 

Bathing  Beauties  and  Beach  Fashions  .  .35 

-50 

Critical  Comment  on  Current  Films   .    .  . 

86 

Do-Re-Mi  Denny.   Reginald  Denny. 

By  Ralph  Wheeler   

Revuettes  of  Other  Pictures  

88 

War  Memories.  By  Ruth  M.  Tildesley    .    .  . 

52 

Tuning  in  on  Hollywood  Wedding  Bells. 

By  Grace  Kingsley  

90 

Dolores  Del  Rio  Offers  a  Gift  

54 

The  Stage  in  Review.  By  Benjamin  De  Casseres 

92 

The  Mike  Menace.  John  Boles. 

By  Herbert  Cruikshank  

57 

In  New  York.  By  Anne  Bye  

94 

Greta — Fifi.   By  Constance  Carr  

58 

Come  Into  the  Kitchen  with  Billie  Dove. 

By  Emily  Kirk  .......... 

96 

Alice  White  Psycho-Analyzed. 

By  James  Oppenheim  

60 

Hot  from  Hollywood.  T\[ews  and  Gossip     .  . 

98 

Summer  Beauty.    Screenland's  Beauty  Depart- 

Ask Me.    By  Miss  Vee  Dee  

104 

ment.  By  Anne  Van  Alstyne  

62 

Publisher's  Page  

130 

Vol. 
XXI 


Published  monthly  by  Screenland  Magazine,  Inc. 
Executive  and  Editorial  offices:  45  West  45th  Street, 
New  York  City.  William  Galland,  President;  C  B. 
Mantel,  Secretary.  Frank  J.  Carroll,  Art  Director. 
Manuscripts  and  drawings  must  be  accompanied  by 
return  postage.  They  will  receive  careful  attention  but 
Screenland  assumes  no  responsibility  for  their  safety. 


Yearly  subscriptions  $2.50  in  the  United  States,  its 
dependencies,  Cuba  and  Mexico;  $3.00  in  Canada; 
foreign,  $3.50.  Entered  as  second-class  matter 
No  vember  30,  1923,  at  the  Post  Office  at  New  York, 
N.  Y.,  under  the  Act  of  March  3,  1879/  Addi- 
tional   entry    at    Dunellen,    N.    J.      Copyright  1930. 


No. 
3 


Member  Audit  Bureau  of  Circulations 


for    ] uly    19  30 


5 


**  Keep  in  touch  frith  your 
favorite  stars  and  forthcoming 
Paramount  Pictures  by  listening 
to  the  Paramount-Publix  Radio 
Hour,  each  Saturday  Evening 
10— 11P.M.  Eastern  Daylight 
Saving  Time  over  the  Columbia 
Broadcasting  System. 


7¥i±.  villi 


THERE'S   ALWAYS    F  A  IK    WEATHER  and 

GREAT  ENTERTAINMENT 

AT  THEATRES  WHICH  SHOW 
PARAMOUNT  PICTURES 


*J  No  more  delightful  way  to  spend  a  summer  afternoon 
or  evening  than  at  the  theatre  nearest  you  that  plays 
Paramount  Pictures.  You'll  always  find  it  cool  and  com- 
fortable inside  and  you'll  always  find  a  great  show  —  some  of 
the  best  Paramount  Pictures  ever  are  being  released  now 
and  right  through  the  summer.  A  partial  list  is  at  the  right.  The 
titles  cover  everything  you  need  to  know  about  them  because 
they're  all  Paramount.  Winter  time,  summer  time,  any  time  — 


"WITH  BYRD  at  the 
SOUTH  POLE" 

•  •  • 
NANCY  CARROLL  in 

"THE  DEVIL'S  HOLIDAY" 

•  •  • 
CLARA  BOW  in 

"TRUE  TO  THE  NAVY" 

•  •  • 
JACK  OAKIE  in 

"THE  SOCIAL  LION"  and 
'•THE  SAP  FROM 
SYRACUSE" 

•  •  • 
WILLIAM  POWELL  in 

"SHADOW  OF  THE  LAW" 

•  •  • 

"THE  BORDER  LEGION" 

•  •  • 

GEORGE  BANCROFT  in 
"THE  CAVEMAN" 

•  •  • 

"DANGEROUS  NAN 
McGREW" 


"If  it's  a 
Paramount  Picture 

it's  the 
best  show  in  town!" 


SCREENLAND 


SOOTHES 

EYES  AFTER 
OUTDOOR  SPORTS 


Why  suffer  with  heavy,  burning, 
bloodshot  eyes  after  tennis,  golf, 
motoring  and  other  outdoor  ac- 
tivities? It's  needless  when  a  few 
drops  of  harmless  Murine  will 
instantly  end  the  irritation 
and  soon  make  your  eyes  clear 
and  fresh  again. 
A  bottle  of  Murine,  complete 
with  eye  dropper,  costs  but 
60c  at  drug  and  department 
stores.  Keep  one  always 
handy  for  quick  relief  from 
eye  irritation  and  strain. 


VRML 

f-oR  You* 


MGRJCAN  ACAD6MY 
OF  DRAMATIC  ARTS 

Founded  1884  by  Franklin  H.  Sargent 

The  foremost  institution  for  Dramatic  and 
Expressional  Training.  The  instruction  of  the 
Academy  furnishes  the  essential  preparation  for 
Directing  and  Teaching  as  well  as  for  Acting. 

The  training  is  educative  and  practical,  de- 
veloping Poise,  Personality  and  Expressional 
Power,  of  value  to  those  in  professional  life 
and  to  the  layman. 

Teachers'  Summer  Course  July  7th  to  Aug.  15th 

Catalog  describing  all  Courses  from  the  Secretary 
Room  2S3-G  CARNEGIE  HALL,  New  York 


Be  a  real 

BLONDE 


MOT  a  dull,  faded; 

"has  been"  blonde. 
But  a  glorious  golden 
beauty  no  one  can  re- 
sist. Blondex,  the  new 
safe  shampoo  for  blon- 
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Blondex  today  for  real  blonde  hair  beauty! 


50UND  J\(EWS 


By 

Evelyn 
Ballarine 


Who  and  What  the  Shooting's  For 


WELL,  for  crooning  out  loud, 
let's  see  what's  going  on  in 
Hollerwood!  For  one  thing — 
opera  stars  take  hold  of  talkie 
town  and  Hollywood  surrenders.  Lawrence 
Tibbett  gave  us  our  first  taste  of  an  operatic 
voice  in  "The  Rogue  Song,"  and  we  crave 
more.  We'll  get  more,  says  Metro-Gold- 
wyn,  who  have  just  signed  Grace  Moore  of 
the  Metropolitan  Opera  Company.  "Jenny 
Lind"  will  serve  to  introduce  you  to  Grace 
Moore  and  Miss  Moore  to  the  talkers. 
Pathe  have  signed  Mary  Lewis,  another 
Metropolitan  prima  donna.  However,  Miss 
Lewis  isn't  new  to  the  screen.  She  played 
in  Christie  Comedies  some  years  ago  but 
deserted  the  silent  screen  for  the  stage 
where  she  could  open  her  mouth  and  sing 
and  not  receive  a  custard  pie  for  her  effort. 
This  time  Miss  Lewis  is  in  pictures  as  a 
star — and  that's  a  comeback.  RKO  have 
Everett  Marshall  as  their  operatic  white 
hope.  You'll  first  see  him  in  "Dixiana," 
opposite  Bebe  Daniels.  Next  he  will  be 
starred  in  "Heart  of  the  Rockies."  Then, 
of  course,  there  are  Dennis  King  and 
Jeanette  MacDonald  with  Paramount  Pic 
tures.  They  can  give  us  light  operas  in 
heavy  doses  and  we  cry  for  more. 

And  now  for  the  uproars.  Let's  find 
out  what  the  comedians  are  doing;  let's 
look  into  their  bag  of  tricks.  Charlie  Chap- 
lin's new  picture  "City  Lights"  is  said  to 
be  practically  completed  and  will  be  ready 
for  release  in  early  fall.  Of  course,  you 
know  that  Charlie  simply  refuses  to  go 
talkie.  Buster  Keaton  is  going  to  give  us 
a  war  comedy  called  "War  Babies."  What 
with  "Journey's  End"  and  "All  Quiet  on 
the  Western  Front"  holding  sway  on  Broad' 
way,  Buster's  film  will  be  timely.  How- 
ever, the  Keaton  war  film  will  be  different 
inasmuch  as  it  will  have  some  love  interest 
with  Sally  Eilers  filling  that  capacity.  And 
speaking  of  Sally  Eilers  and  love — she  and 
Hoot  Gibson  are  engaged.  The  wedding 
date  hasn't  been  definitely  set  as  yet  but 
it  won't  be  long  now.  Harold  Lloyd  has 
started  on  "Feet  First."  Barbara  Kent  will 
again  be  his  leading  lady  and  most  of  the 
picture  will  be  filmed  in  Hawaii.  William 
Haines'  next  is  "Easy  Going."  Leila 
Hyams  and  Francis  X.  Bushman,  Jr.  are 
featured.  The  title  sounds  very  much  like 
a  typical  Haines  comedy.  The  personality 
kid,  Jack  Oakie,  is  making  "The  Sap  from 


Syracuse."  Ginger  Rogers,  who  made  a 
hit  as  the  young  sophisticate  in  "Young 
Man  of  Manhattan,"  will  be  in  the  Oakie 
picture — and  that's  okay  with  us. 

Amos  'n'  Andy,  who  need  no  introduc- 
tion to  you,  will  make  their  talkie  debut 
soon.  They  have  signed  a  contract  with 
RKO.  The  title  of  their  first  cinema  effort 
will  be  "Check  and  Double  Check."  Need- 
less to  say,  neither  Amos  nor  Andy  are 
regusted!  Since  television  has  not  yet  put 
in  its  appearance,  the  movies  give  you  a 
chance  to  see  your  radio  favorites  as  they 
are.  Which  goes  to  prove  that  if  you  make 
a  hit  on  the  air  the  next  step  is  pictures. 
Exhibit  A— Rudy  Vallee. 

The  crime  wave  is  still  on  in  film  circles. 
Eddie  Lowe  will  play  an  underworld  char- 
acter in  "Scotland  Yard."  William  Powell 
won't  be  a  detective  in  "Shadow  of  the 
Law";  he  will  play  a  criminal  for  a  change. 
Columbia  Pictures  will  produce  "The 
Criminal  Code."  And  Lon  Chaney  is  re- 
making "The  Unholy  Three."  More 
crooks! 

Dorothy  Mackaill  had  one  suppressed 
desire — she  wanted  to  do  a  hula  dance  in 
a  picture.  She  has  been  given  that  oppor- 
tunity, she  shakes  a  mean  grass  skirt  in 
"Bright  Lights."  (Reserve  your  seats  now!) 
And  now  Dorothy  has  no  suppressed  desires. 

Columbia  Pictures  probably  look  upon 
the  film  colony  as  'one  big  happy  family.' 
At  any  rate,  they  seem  to  be  working  at 
it  cinematically.  They  are  making  "Sisters," 
with  Sally  O'Neil  and  her  sister,  Molly 
O'Day;  and  they  have  secured  the  screen 
rights  to  "Brothers,"  the  play  which  starred 
Bert  Lytell  on  the  Broadway  stage  last 
season.    Yes,  Bert  will  play  in  the  talker. 

Fay  Wray  and  Gary  Cooper  are  co- 
starring  again  in  "The  Texan."  And  so 
are  Mary  Astor  and  Lloyd  Hughes — they 
will  be  seen  in  "The  Runaway  Bride." 
Ramon  Novarro  and  Dorothy  Jam's  are 
teamed  again  in  "The  Singer  of  Seville." 
And,  of  course,  Richard  Arlen  and  Mary 
Brian,  the  most  consistent  co-stars,  are  to- 
gether again  in  "Light  of  the  Western 
Stars." 

Fashion  models  have  found  their  voices 
at  last.  They  talked  in  a  recent  Fox  Movie- 
tone News.  New  voices  as  well  as  faces 
for  the  screen.  Fifth  Avenue  Studios  are 
training  girls  to  be  mannequins.  Will  they 
give  them  diction  and  voice  culture  next? 


for   July    19  3  0 


7 


VITAPHOI 

JOINS    TWO     JOYOUS     S  T  A*R  S     IN     ONE     GREAT    COMEDY  SPECIAL 


Use  the  Vitaphone  sign 
as  a  guide  to  the  best  of 
good  times.  It  appears  on- 
ly on  pictures  produced 
by  Warner  Bros,  and 
First  National  Pictures. 
"Vitaphone"  is  the  regis, 
tered  trademark  of  The 
Vitaphone  Corporation. 


Funniest  thing  on  four  feet — Joe  E. 
Brown   and  Winnie   Lightner  .  . . 

y  ^Teaming  for  the  first  time,  in  a 
y  picture  teeming  with  laughs! 

"HOLD  EVERYTHING "  held  all 
hilarity  records  in  its  one-year  run 
on  Broadway  .  .  . 

Now  here  it  is  on  the  talking  screen, 
with  every  riotous  roar  retained  by 
Vitaphone. 

Hold  Everything"  is  a  riot . . .  rich 
and  rare  "..."full  of  the  best  'gags' 
ever  developed" — say  famous  news- 
paper experts  who  have  seen  it. 

But  don't  take  their  word  for  it. — 
See  for  yourself! 


WARNER   BROS,  present 


EYE  HYTH  i  HC 


ALL  IN  TECHNICOLOR  with 
JOE  E.  BROWN  *  WINNIE  LIGHTNER 

Georges  Carpentier  ^  Sally  O'Neil     Dorothy  Revier 
Abe  Lyman  and  His  Band 


s 


SCREENLAND 


Confessions   of  the  Fans 

This  is  YOUR  department,  to  which  you  are  invited  to  contribute  your  opinions  of 
pictures  and  players.  For  the  cleverest  and  most  constructive  letters,  not  exceeding 
200  words,  in  length,  we  offer  four  prizes.  First  prize,  $20.00;  second  prize,  $15.00; 
third  prize,  $10.00;  fourth  prize,  $5.00.  Next  best  letters  will  also  be  printed.  Contest 
closes  July  10,  1930.  Letters  in  praise  of  Screenland  are  not  eligible  in  this  contest 
and  should  be  addressed  directly  to  the  Editor.  Send  your  Confessions  to  the  Fans' 
Department,  Screenland  Magazine,  45  West  45f/t  Street,  New  York  City. 

The  Editor. 


FIRST  PRIZE  LETTER 
$20.00 

In  four  different  countries  of  the  old 
world,  1  have  found  moving  pictures  my 
best  friend.  Pictures  have  talked  to  me 
and  I  have  understood  them  in  every  land 
even  though  I  was  not  able  to  understand 
the  language  of  that  land. 

When  in  192  3  I  found  myself  in  this 
country,  alone,  unable  to  speak  a  word  of 
English  and  desperately  lonely,  with  no 
one  who  cared  and  nothing  in  the  world 
to  live  for,  it  was  to  motion  pictures  I 
turned  for  comfort.  For  one  picture  es- 
pecially  I  give  thanks,  as  it  kept  me  from 
utter  destruction  in  one  large  city  on  a 
cold  and  cheerless  Christmas'  eve. 

The  wonderful  realistic  pictures  of  life 
I  found  more  necessary  at  times  than  food, 
and  certainly  more  helpful.  Pictures  have 
put  me  in  a  different  land,  a  land  of  re 
mance  and  happiness.  There  is  a  world 
of  knowledge  and  teaching  in  them,  ours 
for  the  taking.  . 

Now  that  I  am  really  happy  for  the 
first  time  in  my  life,  I  need  pictures  to 
keep  me  happy;  and  an  unwritten  agreement 
makes  my  husband  and  me  loyal  fans  for 
always. 

Mrs.  Joan  Turnblad, 
Detroit  Lakes,  Minn., 

Box  23? 


FOURTH  PRIZE  LETTER 
$5.00 

Even  our  grandparents,  with  their  rigid 
ideas  of  the  simple  life,  realized  the  neces' 
sity  of  some  form  of  amusement,  in  proof 
of  which  we  have  the  expression,  'All  work 
and  no  play  makes  Jack  a  dull  boy,'  which 
they  coined  and  handed  down  to  us. 

In  this  generation,  we  are  all  agreed  that 
amusement  is  a  vital  need  and  that  our 
ability  to  play  increases  our  ability  to  work. 
As  an  individual  and  as  a  mother,  I  assert 
that  there  is  no  form  of  amusement  that 
compares  with  moving  pictures.  They  are 
entertaining  and  instructive,  which  is  a 
rare  combination.  They  are  reasonably 
priced.  Here  in  our  city,  we  have  some 
rarely  beautiful  moving  picture  houses, 
while  each  neighborhood  has  a  smaller,  less 
expensive  house  where  the  same  pictures 
are  shown.  I  unhesitatingly  say  that  I 
have  learned  more  of  geography  and  his- 
tory  from  pictures  than  I  ever  learned  in 
school. 

Mrs.  Arthur  H.  Bryde, 

217  E.  St.,  S.E., 
Washington,  D.  C. 


Page  Dr.  Vizetelly 

One  of  my  strongest  reactions  to  the 
talkies  is  the  joy  of  hearing  English  spoken, 
not  garbled.  I'm  sure  it  will  have  a  cer' 
tain  effect  in  time — as  did  the  legitimate 
stage  in  the  long  ago.  People  become  care' 
less  in  this  turmoil  of  such  a  life  as  we  lead 
down  on  the  main  streets  of  the  big  towns 
and  the  little  towns,  and  we  get  to  taking 
short  cuts  in  our  language  and  picking  up 
slang  until  we  speak  a  language  scarcely 
recognizable  as  English. 

To  hear  Ruth  Chatterton,  Ronald  Col' 
man,  Clive  Brook  and  H.  B.  Warner  and 
many  others  makes  one  swear  to  turn  over 
a  new  leaf  and  speak  clear,  clean-cut  Eng- 
lish, and  I  don't  mean  with  a  broad  Har- 
vard accent,  or  a  clipped  London  air. 
What  delightful  players  they  are,  and  how 
much  more  delightful  when  one  can  hear 
them  speak.  None  of  them  would  win 
a  silver  cup  at  a  beauty  .show,  but  they 
are  there  with  the  brains,  and  the  skill 
and  the  charm,  which  is  greatest  of  all. 

Joy  O'Hara, 
Santa  Rosa, 

Cal., 
Box  343 


Ruth  Chatterton  a  Good  Example 

It  has  been  a  long  admitted  fact  that  the 
silver  screen  has  influenced  to  a  great  ex- 
tent the  dress  and  manner  of  the  American 
middle  class  public.  Now  comes  the  talk- 
ing screen  and  we  are  given  glorious  op- 
portunities of  hearing  the  English  language 
spoken  as  it  should  be.  No  one,  hearing 
Ruth  Chatterton  from  the  screen  could 
fail  to  admire  her  lovely  voice  and  the 
nice  inflection  given  each  word.  More 
than  one  loud-voiced  flapper  heard  her  and 


SECOND  PRIZE  LETTER 
$15.00 

Many  have  wondered  what  Ali  Baba 
saw  when  he  pronounced  those  magic  and 
potent  words,  'Open  Sesame.' 

I  know  what  he  saw,  I've  pronounced 
those  selfsame  words,  only  in  my  language. 
They  are  'One,  orchestra,  please,'  and 
immediately  I  am  ushered  into  a  fairy 
cavern  of  untold  treasure. 

There  I  have  found  spring,  and  sun- 
shine and  love.  There  I  have  found  win- 
ter, and  hearts  snowed  under,  bejewelled 
with  sharp  crystal — and  age.  I  have  found 
pearls  of  tears,  and  diamond  smiles — golden 
hearts  and  voices  of  silver. 

I  see  there  the  rich  silks  of  pride  which 
tear  so  easily,  and  the  frank  incense  and 
myrrh  of  hope  which  permeates  and  sweet- 
ens the  vast  coffer  of  life  which  holds  all 
this  treasure. 

These  are  the  contents  of  the  cavern. 
These  are  the  treasures  Ali  Baba  saw  and 
these  are  the  treasures  I  have  seen.  With 
the  magic  pass  word  I  enter  this  fairy 
cavern,  and  when  I  have  enjoyed  its  treas- 
ures to  the  utmost  I  depart  from  it,  a 
wiser  and  better  girl. 

Grace  de  la  Croix, 
222  J.  L.  House, 
Newcomb  College, 
New  Orleans,  La. 


THIRD  PRIZE  LETTER 
$10.00 

As  a  lover  of  the  screen,  here  is  my  can- 


Do  we  like  William  Powell  best 
as  man  of  the  world,  or  as  crook, 
detective  or  racketeer?  We  don't 
know,  but  we  like  him,  and  so 
do  all  the  fans. 

did  opinion  of  it.  I  love  to  live — full, 
invigorating,  progressive  living — and  to  me, 
the  motion  picture  is  life.  If  motion  pic- 
tures today  are  not  life  with  all  its  sublimity 
and  degradation,  its  crushing  disappoint- 
ments and  surprising  progress,  its  hellish 
passions  and  electrifying  emotions,  its  damn- 
ing sins  and  its  blessed  hopes  for  the  fu- 
ture, then  there's  no  such  thing  as  life! 
We  are  senseless  puppets  in  a  crazy  dis- 
torted condition  if  the  motion  picture  is 
not  life. 

The  motion  picture  to  me  is  a  great  dem- 
onstration field.  Marshalled  in  bold  array 
upon  that  field  are  the  gigantic  enterprises 
of  masterful  minds  for  me  to  study;  the 
splendid  achievements  of  science  for  me  to 
appreciate  and  for  my  inspiration;  the  sub- 
lime thoughts  of  this  old  world  in  gorgeous 
masterpieces  of  art,  craft  and  profession; 
the  idiosyncrasies  and  eccentricities  of  the 
genius — their  glory  and  their  ignominy 
making  up  the  challenging  technic  of  living! 
These  are  my  own  because  of  the  motion 
picture! 

Instruction,  inspiration,  culture,  achieve- 
ment— how  to  look  up  and  laugh  and  love.' 
How  to  live! 

M.  T.  Tucker,  Jr., 
Bonded  Tire  Co., 
Concho  at  Oakes, 
San  Angelo,  Texas. 


for    July    19  3  0 


9 


Mtaring *  Dramatic! 
AU~1Jolor9  All-Powerful! 


Her  bridegroom's  life,  or 
her  own  disgrace  —  which 
should  she  choose? 

Torn  from  her  royal  hus- 
band on  her  wedding  day, 
must  she  give  her  FIRST 
KISS  to  the  handsome 
rogue  who  held  her  bride- 
groom captive? 

You'll  find  an  amazing 
answer  in  this  story  of  the 
strangest  wedding  night  any 
bride  ha9  ever  known ! 

All-Star,  All-Color,  All-I.uxnrious. 
prepare  for  entertainment  extraor- 
dinary when  the  sign  on  your  theatre 
eaya,  "Here  comes  the  BRIDE  OF 
THE  REGIMENT!" 


Stars  for 
the  price  of  one! 


VIVIENNE  SEGAL 

ALLAN  PRIOR 
WALTER  PIDGEON 
LOUISE  FAZENDA 
FORD  STERLING 
MYRNA  LOY 
LUPINO  LANE 


A  John  Francis  Dillon  production* 
based  on  the  operetta,  "The  Lady  in 
Ermine"  by  Rudolph  Schanzer  and 
Ernest  Welisch.  "Vitaphone"  is 
the  registered  trademark  of  The 
Vitaphone  Corporation. 


A  FIRST  NATIONAL  &  VITAPHONE  PICTURE 


WITH  1007,  TECHNICOLOR 


10 


SCREENLAND 


Ruth   Chatterton   has   won  thou- 
sands of  followers  since  her  first 
screen  appearance,  and  her  popu- 
larity steadily  increases. 


secretly  resolved  to  use  her  as  their  model 
in  the  future.  And  is  that  not  an  accom- 
plishment? 

In  the  last  year,  I  have  not  only  seen 
the  best  possible  in  stories  on  the  screen, 
but  I  have  heard  the  best  voices  in  this 
country,  truly  and  perfectly  reproduced. 
What  a  boon  to  the  average  man  and 
woman.  Such  voices  as  Dennis  King's, 
Lawrence  Tibbett's,  John  Boles'  and  count- 
less others,  all  at  prices  which  they  can 
afford  to  pay.  Three  cheers  for  the  talk- 
ing screen! 

Mabel  Sides, 
38'  N.  Euclid  Ave., 
Indianapolis,  Ind. 


Those  Regulation  Endings 

I  believe  the  achievement  of  greatest 
significance  attained  by  motion  pictures  is 
the  adoption  of  better  and  more  appropriate 
endings.  We  became  tired  of  the  old  idea 
of  seeing  nearly  every  picture  end  with 
everyone  contented  and  satisfied.  It  is 
not  natural  or  true  to  life.  Yet,  if  we 
wish  to  take  home  and  practise  a  good 
moral  we  have  learned  from  the  picture, 
the  outcome  must  be  logical. 

With  recent  plays,  the  authors,  wisely 
enough,  have  left  a  few  incidents  untold, 
stressed  a  good  moral  and  left  something 
for  the  fans  to  think  about.  In  this  way, 
the  pictures  are  not  easily  forgotten  and 
they  fit  in  better  with  our  own  unfinished 
lives.  This  welcome  change  has  been  more 
pronounced  since  the  coming  of  the  Vita- 
phone. 

Mark  A.  Nettesheim, 

Pewaukee,  Wis. 


A  Bouquet  for  Lois  Wilson 

Why  do  we  like  talking  pictures?  Be- 
cause, until  the  advent  of  sound  it  never 
had  been  our  privilege  to  see  such  an 
assemblage  of  beautiful  women,  splendid 
men,  famous  singers  and  dancers  as  we 
can  see  now  almost  any  day.  And  because 
— well — trying  to  tell  why  we  like  certain 
things  is  like  trying  to  tell  why  we  love 
our  parents  and  children  and  animals  and 
flowers  and  beautiful  sunsets  and  all  the 
things  that  belong  in  our  lives  and  that 
make  life  worth  living. 

And  to  try  to  explain  why  we  like  cer- 
tain stars  is  almost  as  difficult.     I  admire 


Greta  Garbo  and  other  great  ones  of  the 
screen  and  worship  at  their  shrine.  But 
into  my  heart  has  crept  the  image  of  a 
sweet  and  charming  actress  and  implanted 
there  is  a  sincere  desire  to  see  and  hear 
her  in  many  more  pictures.  I  love  her 
voice  and  her  winning  ways.  To  me  she 
is  like  the  fragrance  of  the  violet  after  the 
cloying  sweetness  of  hot-house  flowers.  So 
here's  to  the  spirit  of  romance  and  happi- 
ness— Lois  Wilson. 

Burton  Holcombe, 
Kissimmee,  Florida 


An  Appreciation 

I  have  just  seen  William  Powell  in  his 
first  starring  picture,  "The  Street  of 
Chance"  and  I  want  to  say  that  in  it,  he 
did  some  of  the  finest  acting  the  screen  has 
witnessed  in  a  long  while.  In  his  portrayal 
he  achieved  dramatic  heights  without  re- 
sorting to  any  theatrical  display.  His  death 
scene  was  a  marvel  for  brevity  and  sim- 
plicity which  did  not  at  all  lessen  the 
poignant  appeal  of  it.  A  natural  sincerity 
is  the  predominant  note  in  William  Powell's 
acting,  that — and  the  intangible  something 
which  stamps  him  a  great  artist. 

Here's  to  William  Powell!  In  his  well- 
earned  stardom  may  the  roles  that  come  his 
way  be  worthy  of  his  fine  intelligence  of 
delineation. 

Pauline  Lontz, 
30  So.  Euclid  Ave., 

Pasadena,  Calif. 


Screen  Satisfies  Need 

Romance  and  adventure  are  still  with  us, 
despite  the  confining  advances  of  a  modern 
civilization. 

By  day,  I  am  a  chemist,  engaged  in  ex- 
acting labors.  By  night,  I  am  what  I  wish 
to  be.  Comfortably  seated  in  the  theater 
I  thrill  to  the  masterly  deductions  of  the 
great  detective;  by  degrees  I  lose  my  de- 
tachment; and  revel  as  the  master  mind  for 
a  fleeting  hour.  Or,  if  the  mood  sways 
with  me,  I  follow  the  glamourous  trails  to 
the  golden  Southwest,  where,  in  the  pur- 
pled distance  ,  the  dim  fixity  of  mountain 
range  becomes  a  solace  and  release  from  care. 

I  go  to  the  sea  in  ships.  I  thrill  to  the 
wild  frenzy  of  wind  and  wave.  I  take  my 
trick  at  the  helm  and,  teetering  in  a  stiff 
breeze,  set  my  course  by  the  silent,  immut- 
able stars. 

Perchance  I  must  trail  in  the  vast  North- 
west, where  emerald  pines  brood,  blue  lakes 
ripple  in  the  hard  yellow  sunshine  and  the 
defiant  peaks  tower  into  the  very  maw  of 
heaven. 

Whatever  the  life  I  wish  to  lead  for  a 
brief  hour,  the  movies  are  waiting.  And 
then,  safe  through  a  thousand  perils  brought, 
I  am  ready  to  return  to  the  mundane  world 
and  meet  difficulty,  even  as  my  screen 
heroes. 

Eugene  W.  Blank, 
134  Frazier  Street, 
State  College,  Pa. 


Unsung  Stars  of  Filmdom 

Why  do  we  hear  so  little  about  such  per- 
sonages as  Adolph  Zukor,  Jesse  Lasky,  the 
Warner  brothers,  Carl  Laemmle,  the  late 
Marcus  Loew  and  other  prominent  motion 
picture  producers?  In  the  glamour  of  the 
screen  world  today  with  its  countless  stars 
and  lesser  stars,  the  producers  remain  largely 
in  the  background;  yet  they  are  the  real, 
unsung  stars  of  filmdom. 

Since  the  beginning  of  motion  pictures 
the  one  mutual  desire  of  successful  pro- 
ducers has  been  to  please  the  public,  re- 
gardless of  cost.    Pictures  have  arisen  from 


crude,  unimportant  affairs  to  the  almost 
unbelievable  pinnacle  that  they  occupy 
among  the  foremost  accomplishments  of  to- 
day. Sound  and  technicolor  are  two  mile- 
stones of  progress  that  have  been  passed. 
Experiments  are  being  made  daily  that  will 
result,  eventually,  in  a  still  greater  better- 
ment of  pictures.  And,  fortunately,  prices 
of  admission  to  present-day  masterpieces  are 
within  the  reach  of  practically  everyone. 

Let  us  know  more  about  the  men  who 
have  exerted  untiring  effort,  who  have  ex- 
pended and  risked  and  sometimes  lost  for- 
tunes to  make  pictures  humanity's  supreme 
entertainer. 

E.  C.  Furtick, 
State  Park,  S.  C. 


Is  Silence  Golden? 

To  be  sure  I  was  not  being  biased  and 
old-fashioned  I  have  missed  but  few  talking 
pictures  in  the  past  year,  and  I  am  con- 
vinced they  are  a  poor  substitute  for  the 
beauty  and  realism  of  the  silent  pictures. 
To  me,  there  is  the  same  difference  there 
is  in  enjoying  a  book  to  oneself  and  in 
having  someone  read  that  book  aloud  to  me. 

I  have  found  some  of  the  pictures  nerve- 
racking,  especially  the  sound  news.  And 
why  must  they  flash  the  title  on  the  screen 
and  then  have  some  one  speak  it? 

In  the  year  I  find  a  few  that  stand  out. 
Norma  Shearer  in  "The  Last  of  Mrs. 
Cheyney,"  "Hollywood  Revue,"  "Wolf  of 
Wall  Street,"  "Girl  from  Havana."  Even 
these  cannot  hold  the  interest  as  Garbo 
does  in  her  silent  pictures,  or  as  Ramon 
Navarro  in  "The  Pagan." 

I  dare  say  I  sound  bitter,  as  I  am.  My 
favorite  diversion  is  absolutely  ruined  and 
I  must  turn  to  the  speaking  stage.  Why 
can't  the  film  industry  at  least  let  us  be 
choosers?  They  could  make  first  a  talkie, 
then  a  silent  picture,  saving  the  'canned' 
music  for  the  towns  which  cannot  have  the 
wonderful  orchestras  we  have  in  the  cities. 

Bertha  K.  West, 
1406  Merriman  Ave., 

New  York  City. 
{Continued  on  page  128) 


Lois   Wilson  has  always  been  a 
favorite.    Her  pleasant  voice  was 
one  of  the  first  to  be  heard  in 
sound  pictures. 


for    July    19  30 


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12 


SGREENLAND 


Three  Little  Bennetts 


Left,  the  Big  Bennett  named  Constance ;  center,  the  Littlest 
Bennett  named  Joan;  and  right,  the  Middle-sized  Bennett  named 
Barbara.  The  Three  Little  Bennetts  lived  in  a  little  house  in  the 
country — in  Palisades,  New  Jersey,  in  fact.  Mama  and  Papa  Ben- 
nett were  on  the  stage.  And  when  the  three  little  Bennetts  grew 
up  they,  too,  turned  their  thoughts  to  the  theater.  Constance  packed 
her  bags  and  went  to  Hollywood  and  made  good.  She  then  quit 
pictures  for  a  matrimonial  cruise  but  later  returned  to  her  first 
love  and  made  a  snappy  come-back.  Barbara  learned  to  dance 
for  the  stage  but  when  the  talkies  put  in  their  appearance,  Barbara 
— Mrs.  Morton  Downey — spoke  her  little  piece  for  the  screen  and 
did  very  nicely,  too.  Joan  made  a  hit  in  her  first  talkie  and  is 
still  going  strong.  And  thus,  children,  ends  the  success  story 
of  the  three  little  Bennetts  so  far. 


13 


NEW  HEIGHTS 
IX  LIGHT 

ENTERTAINMENT 

OUR  fads  and  our  foibles,  our  sports  and  our  hobbies, 
all  are  grist  for  Sennett's  laugh  mill.  If  your  pet  in- 
terest is  bridge  or  golf,  the  stock  market  or  radio,  flying 
or  dieting,  you'll  take  it  less  seriously  and  therefore  enjoy 
it  more  after  you  have  laughed  over  it  with  Sennett. 

Mack  Sennett  puts  his  finger  on  the  funny  side  of  our 
modern  interests  with  a  touch  of  genius  that  is  his  alone. 
With  each  new  picture  he  pokes  fun  at  another  angle  of 
our  crowded  twentieth -century  life  —  and  reaches  new 
heights  of  laughter. 

These  MACK  SENNETT  TALKING  COMEDIES  are 
now  making  millions  laugh  their  troubles  away  in  thou- 
sands of  theatres  all  over  the  land.  Every  one  of  them  is 
worth  the  price  of  admission  wherever  you  find  it  playing. 

MATCH  PLAY" — A  short  feature  special  with  the  golf  champions 
WALTER  HAGEN  and  LEO  DIEGEL.  The  funniest  fussy  foursome 
that  ever  played  the  links.  With  some  shots  that  will  make  you 
catch  your  breath. 

3  TRUMPED  HER  ACE'*— A  delightfully  smart  comedy,  fea- 
turing Johnny  Burke  as  the  "dummy"  who  would  play  bridge  on 
his  honeymoon,  and  Marjorie  Beebe  as  the  bride. 

ONEYMOON  ZEPPELIN" — Many  will  consider  this  Sennett's 
greatest  picture,  because  of  the  marvelous  action  and  thrills  that 
are  packed  in  between  the  laughs.  With  Marjorie  Beebe,  Daphne 
Pollard,  Nick  Stuart,  Edward  Earle. 

I  "RADIO  KISSES" —  Miss  Beebe,  George  Duryea  and  Rita  Carewe 

I in  another  ultra  modern  farce  that  introduces  Mack  Sennett's 
own  new  color  photography. 

"FAT  WIVES  FOR  THII\"— a  laugh  feast  on  the  perils  of  modern 
diets,  with  Miss  Beebe,  George  Barraud  and  Andy  Clyde. 

MACK  SENNETT 

TALKING  COMEDIES 


EDUCATIONAL  FILM    EXCHANGES,   Inc.,  E.  W.  HAMMONS,  President 
Executive  Offices;  1501  Broadway,  New  York,  N.  Y. 


14 


SCREENLAND 


screenland 
Honor  Page 


A  caricaturist's  impression  of  the 
far-famed  profile  of  John,  crown 
prince    of    the    royal  theatrical 
family,  the  Barrymores. 


Barrymore  is  at  his  quizzical  best 
as  the  slightly  inebriated  gentle- 
man who  attends  the  wrong  dinner 
party  in  a  thick  fog — the  London 
variety  and  his  own.  There  are 
complications  which  afford  John 
an  opportunity  to  discard  dignity 
and  just  have  a  good  time. 


Dedicated 
to 

JOHN  BARRYMORE, 

Comedian 

YOU  know  all  about  Barrymore  the 
dramatic  actor.  You  have  seen  him 
in  such  serious  pieces  as  "The  Sea 
Beast";  you  have  applauded  his  fine 
Richard  III.  in  "The  Show  of  Shows";  you 
admired  him  as  "General  Crack."  But  now 
we  wish  to  call  your  attention  to  another 
Barrymore.  This  time  it  is  John  Barry 
more,  comedian-.star  of  "The  Man  from 
Blankley's,"  who  invites  your  appreciation 
and  merits  your  applause. 

John  Barrymore  made  his  screen  debut 
years  ago  as  a  funny  man.  He  was  a  real 
riot  in  such  comedies  as  "The  Man  from 
Mexico."  Then  he  went  back  to  the  stage, 
to  become  its  leading  tragic  actor.  When 
he  returned  to  the  screen  he  was  a  dis- 
tinguished dramatic  star  with  "The  Jest" 
and  "Hamlet"  to  his  credit.  And  he  con- 
tinued in  the  deep  and  dreary  drama.  Then 
his  sense  of  humor  asserted  itself.  He 
would  do  a  talking  comedy — just  for  a 
change.  The  result  is  "The  Man  from 
Blankley's,"  in  which  he  is  suave  and 
subtle  and  very,  very  funny.  We  can't  help 
hoping  that  Barrymore,  the  comedian,  will 
occasionally  triumph  over  Barrymore,  the 
tragedian.  We  appreciate  great  acting;  but 
we  love  a  man  who  makes  us  laugh! 


for    July  1930 


Perfect  Comedy  Team 

rie  DRESSLER 
PollyMORAN 

AUCHT 


with 

ANITA 
PAGE 

Adaptation  and 
Dialogue  by 
W1LLARD  MACK 
Directed  by 
CHARLES  F. 

RIESNER 
Suggested  by 

EDDIE 
CANTOR'S 
book. 


From  wash-boards  to  Wall  Street  —  from 
cleaning  up  in  the  kitchen  to  cleaning  up 
in  the  stock  market!  What  a  riot— what  a 
scream — what  a  panic  of  laughs — are  these 
two  rollicking  comedians  as  they  romp  their 
way  through  the  merriest,  maddest  picture 
you  ever  saw.  How  they  put  on  the  ritz 
while  the  money  rolls  in!  Then  came  the 
dawn  —  and  back  to  the  soap  suds  with 
Marie  and  Polly.  Don't,  don't,  DON'T 
miss  seeing  "Caught  Short". 


MET  RO-GOLDWYN-MAYER 

 .  :   "More  Stars  Than  There  Are  in  Heaven" 


16 


SCREENLAND 


^he  $1,500  Dress 


PROBABLY  the  most  expensive  dress  ever  owned  by  any  girl,  even 
a  screen  star,   is  Norma   Shearer's,  which  she  wears  in  "The 
Divorcee."     It's  worth  its  weight  in  gold!     Real  gold,  assaying  14 
karat,  was  woven  into  the  cloth  that  Adrian,  the  designer,  used  to 
make  the  gown.    Shown  at  the  right  are  Adrian's  original  sketches, 
including  a  view  of  the  'winged'  back. 


for   Jv.ly  1930 


17 


THE  EDITOR'S  PAGE 


JUST  as  we  get  all 
keyed  up  to  the  fact 
that  Voices  are  the 
Thing,  along  comes  no  less 
an  authority  than  Professor 
Florenz  Ziegfeld  with  an 
entirely  different  idea.  Zieg- 
feld, you  must  know,  has 
■"succumbed''  to  the  screen 
and  is  now  in  Hollywood 
helping  to  translate  his 
stage  success,  "Whoopee," 
into  terms  of  talkies.  Of 
course,  the  moment  the 
Professor  arrived  in  Cali- 
fornia people  began  to  pester  him  as  to  the 
real  secret  of  feminine  beauty.  You  see, 
Ziegfeld  is  supposed  to  know  a  thing  or  two 
about  girls,  since  he  features  dozens  of  the 
prettiest  in  his  shows.  So  whenever  he  lets 
himself  go  on  the  subject,  everybody  listens. 
Here's  the  latest: 

C[  "A  good  nose,  I  think,11  says  Mr.  Ziegfeld, 
"is  the  most  important  feature  a  girl  can 
have.11  Mr.  Ziegfeld!  You  don't  mean  to  tell 
us!  A  nose?  Now  the  most  passionate  and 
profound  admirers  of  the  Ziegfeld  extrava- 
ganzas report  that  although  they  carry  away 
with  them  very  charming  and  complete 
impressions  of  Flo's  entertainments,  they 
couldn't  for  the  life  of  them  tell  -you  five 
minutes  later  whether  the  beautiful  blonde 
on  the  end  in  the  front  row  has  a  Grecian 
or  a  Roman  nose,  whereas  they  can  tell  you 
a  lot  of  other  things  about  her,  including  her 
telephone  number.  No,  Mr.  Ziegfeld,  it 
won't  do.  A  nose  really  matters  very  little 
one  way  or  another  to  a  Hollywood  ingenue, 
anyway — unless  she  talks  through  it. 

C[  We're  signing  up  all  the  Best  People.  The 
two  latest  to  join  our  happy  screen  family 


are  George  Gershwin  and 
Joseph  Urban.  You  know 
George  "Rhapsody  in  Blue" 
Gershwin.  He's  to  compose 
music  directly  for  the 
screen.  Not  just  adapt  his 
musical  comedy  successes  or 
direct  his  "Rhapsody,"  but 
sit  right  down  at  the  piano 
and  write  brand-new  stuff 
especially  and  exclusively 
for  Fox  pictures.  That's 
something  to  look  forward 
to. 

C[  Joseph  Urban,  scenic  genius  of  the  Zieg- 
feld shows  and  the  Metropolitan  Opera,  will 
design  the  sets  for  two  Fox  films:  "A  Con- 
necticut Yankee  in  King  Arthur's  Court," 
which  will  star  Will  Rogers;  and  "The  Man 
WTho  Came  Back,"  with  Charlie  Farrell. 
Soon  those  little  eyes  and  ears  of  ours  will 
become  so  accustomed  to  the  very  best  in 
music  and  art  from  the  movies  that  we'll 
refuse  to  accept  substitutes.  We'll  become 
as  keen  patrons  of  the  arts  as  the  Italians 
or  anybody.  All  we  need  is  a  little  experi' 
ence,  and  we're  getting  it  from  the  screen. 

C[And  we  don't  have  to  be  bored  getting 
cultured,  either.  We  can  sit  in  comfortable 
cushioned  seats,  at  a  low  admission  price, 
and  look  at  and  listen  to  interpretations  by 
painless  artists.  The  great  music  will  be 
sung  by  pretty  young  things  with  slim 
figures.  No  fat  opera  stars  allowed.  Before 
they  can  become  screen  bets,  they  have  to 
reduce.  Then,  when  they  are  as  svelte  and 
handsome  as  Garbo  and  Novarro,  and  not 
before,  they  can  warble  for  the  'mikes.' 
We're  particular,  but  we're  nice  to  work 
for!  D.  E. 


IS 


SCREENLAND 


No  Beauties 

in  Hollywood? 

By  Thomas  Talbott 


found  scarcely  a  real  beauty  in  Hollywood,"1  said 
I    Olive  Snell. 

Catty?  Not  at  all!  Miss  Snell  is  herself  an 
extremely  attractive  woman,  besides  being  an  emi- 
nent and  impartial  judge  of  beauty  in  all  its  many  phases. 
She  has  painted  beautiful  women  of  Europe  and  America; 
studied  them,  selected  them.  She  knows  what  she  is 
talking  about! 

"Beauty,"  continued  Miss  Snell,  "is  not  a  mere  matter 
of  having  the  proper  number  of  regular  features  set  at 
the  proper  angle  in  a  properly  proportioned  face.  Beauty 
is  often  a  quality  which  the  undiscerning  eye  cannot  im- 
mediately see  but  the  discerning  mind  can  instantly  sense. 

"For  that  reason,  a  portrait  painter  must  be  a  combina- 
tion psychologist  and  medium,  able  to  penetrate  the  en- 
velope of  flesh  in  which  a  sitter  hides  his  inner  self  from 
the  world.  A  portrait  painter  must  not  only  be  able  to 
penetrate  this  envelope,  but  he  must  also  have  the  ability 
instantly  to  select  from  the  many  intricate  qualities  he 
discovers  there,  the  one  composite  characteristic  which  he 


Joan     Crawford    strongly    resembles    the  Aubrey 
Beards  ley  type.    Her  mobile  features  reflect  all  the 
passing     emotions     from     which     masterpieces  of 
beauty  are  created. 


can  catch  on  canvas  exactly  to  express  the  personality  of 
his  subject.  Otherwise,  the  sitter  might  just  as  well  have 
a  park  photographer  snap  his  likeness  on  a  ha'  penny 
card." 

Miss  Snell  is  one  of  the  two  most  famous  women  por- 
trait painters  in  England,  and  has  painted  a  larger  number 
of  beautiful  women  and  distinguished  men,  from  Mayfair 
to  Mandalay  and  back,  than  any  other  contemporary  artist. 
Some  of  her  sitters  include  the  Prince  of  Wales,  Prince 
George,  the  former  Queen  of  Greece,  Prince  Hohenlohe- 
Schillingsfurst,  and  many  others  whose  names  are  listed  in 
the  Almanac  de  Gotha.  And  now  she  has  seen  and 
sketched  the  colorful  Hollywood  stars. 

If  you  could  look  around  the  walls  of  Miss  Snell's 
studio  and  see  her  Hollywood  paintings,  you  would  be 


Gloria  Swanson — a  supreme  challenge  to  the  artist, 
not  because  of  her  beauty  alone  but  by  virtue  of 
a  subtle  charm. 


surprised,  for  you  wouldn't  recognize  any  of  your  Holly- 
wood favorites  as  the  screen  portrays  them.  Miss  Snell 
has  discarded  their  superficial  masks  and  pierced 1  to  the 
core  of  their  personalities. 

We  see  Lilyan  Tashman  as  a  white  panther.  Evelyn 
Brent  as  a  princess.    Myrna  Loy  as  a  sensitive  artist. 


for   July  1930 


19 


Sounds  Incredible,  Doesn't 
It?  But  Olive  Snell,  Fa- 
mous Artist,  has  a  New 
Slant  on  our  Screen  Stars. 
Read  her  Impressions 

Marion  Davies  as  a  fascinating  gamine.  Joan  Crawford 
as  an  Aubrey  Beardsley  character.  Young  Douglas  Fair- 
banks, the  sophisticated,  as  a  shy  bow-boy,  but  far  from 
a  blind  one.    Loretta  Young  as  a  Madonna. 

Although  Olive  Snell  has  visited  America  before  and 
has  painted  many  of  the  well-known  American  beauties 
of  the  day,  this  is  her  first  trip  to  Hollywood.  And  it 
has  been  an  amazing  experience,  for,  as  she  says,  "Holly- 
wood is  a  joke — but  it's  not  funny.11 

It  was  a  great  transposition  for  this  famous  British 
painter  when  she  left  her  quiet  country  house  in  Devon- 
shire to  go  to  Hollywood,  where  in  the  flower  and  vege- 
table market  she  calmly  sat  on  a  camp  stool,  with  her 
husband's  man  servant  behind  her,  and  called  out:  "Law- 
rence, a  little  of  the  yellow  ochre,  please" — as  the  startled 
natives  watched  her  transfer  this  colorful  spot  to  her 
canvas.  For  Miss  SnelFs  life  has  been  spent  far  from  the 
mad  whirl  of  the  screen. 

For  that  reason,  it  seems  to  me  that  she  is  one  of  the 
fairest  judges  of  Hollywood  beauty  since  she  brings  to 
the  question  an  open  mind.    It  is  all  fresh  to  her  as  it 


Pretty,  gentle  Loretta  Young,  whose  eyes  hold  the 
concentrated  peace  of  all  the  Madonnas  since  the  be- 
ginning of  time — a  symphony  of  happiness  and  charm. 


Dorothy   Wilding,  London 


Olive  Snell  has  painted  a  larger  number  of  lovely 
women  and  distinguished  men,  from  Mayfair  to  Man- 
dalay  and  back,  than  any  other  contemporary  artist. 
And  now  the  colorful  personalities  of  Hollywood 
are  her  models. 

could  never  be  to  us  who  have  grown  up  with  the  cinema 
industry. 

Olive  Snell  came  into  the  world  under  a  happy  star. 
She  was  born  the  daughter  of  a  country  gentleman,  lived 
her  life  until  womanhood  almost  entirely  in  the  beautiful 
English  countryside,  made  her  debut  in  London,  and  later 
married  Major  Eben  Pike,  of  the  Grenadier  Guards. 
From  this  marriage  there  are  three  children — David,  Pene- 
lope and  Christian.  Only  after  her  children  were  born, 
did  Mrs.  Pike  become  a  student  and  protegee  of  the  cele- 
brated artist,  Augustus  Johns,  and  develop  into  one  of 
Great  Britain's  foremost  painters. 

"The  loveliest  women  in  Hollywood  according  to  pro- 
fessional beauty  standards,"  Miss  Snell  explained,  "are 
possibly  Corinne  Griffith,  representing  the  languid  blonde 
type,  and  Billie  Dove,  representing  the  lush  brunette. 
And  yet  they  interested  me  less  than  J;he  others.  I  am 
little  concerned  with  mere  formal  beauty.  A  male  painter 
probably  would  select  either  Miss  Dove  or  Miss  Griffith 
as  true  beauties  because  he  would  judge  them  with  his 
emotions  instead  of  from  a  detached,  aesthetic  viewpoint. 
And  certainly,  emotionally  both  of  these  stars  exude  an 
aura  of  beauty.  But  a  woman  portrait  painter  does  not 
allow  herself  to  be  swayed  by  personal  emotion  or  in- 
fluenced by  the  magnetism  emanating  from  a  sitter.  Any 
woman,  painter  or  no,  must  necessarily  see  feminine  beauty 
from  a  different  angle  than  men  do. 

"Two  women  on  the  west        (Continued  on  page  124) 


20 


SCREEN  LAND 


Hollywood  .  .  .  . 
Makes  You  Young 
Says  George  Arliss 


An  Interview  by  Rosa  Reilly 


George  Arliss! 
You  have  seen  him  in  "Disraeli"  and  "The 
Green  Goddess."  You  may  have  seen  him  on 
the  stage.  You  know  he  is  one  of  the  great 
actors  of  his  day,  and  you  have  probably  heard  that  his 
two  talking  pictures  have  made  him  a  great  commercial 
success  at  motion  picture  theater  box-offices  the  world 
over. 

But  what  do  you  really  know  about  Arliss?   Isn't  he  a 
vague,  shadowy  figure — a  mysterious  being  who  manages 
to  recreate  characters  in  an  inimitable  manner  but  whose 
real   personality  remains  hidden? 
Now  that  George  Arliss  is  becom- 
ing such  a  favorite  with  screen 
audiences  he   must  emerge  from 
his  roles  and  meet  his  public.  The 
movie   fans   want   to   know  the 


Mr.  Arliss,  you  must  step  up  and 


George  Arliss — one  of  th 
times,  who  has  kept  faith 
and  still  kept  pace  with 
events.  And  now  he  is 
and  commercial  h 


idols  they  worship, 
meet  the  folks! 

Mr.  Arliss  is  not  often  interviewed.  Once  having 
attained  his  eminence — which  includes  an  autobiography 
and  international  renown — a  star  is  entitled  to  considerable 
aloof  seclusion.  But  on  this  occasion  Mr.  Arliss  found 
himself  being  interviewed.  And  being  very  charming 
about  it. 

Although  I  had  heard  of  Arliss  all  my  life,  I  had  never 
met  him.    I  rather  expected  an  austere  person  who  would 
deal  sonorously  with  the  glories  of  the  past,  hit  talking 
films  a  good  kick,  and  end  with  a 
dissertation  on  the  beauties  of  the 
legitimate  'drayhma.' 
I  got  a  first-class  shock! 
Arliss  is  young!    I  don't  mean 
in  years.     (He  has  been  on  the 


e  greatest  actors  of  our 
with  the  finest  traditions 
the  march  of  dramatic 
the  outstanding  artistic 
it  of  the  talkies. 


for    July  1930 


21 


An    impression    of    the  distin- 
guished star  in  "Disraeli,"  one  of 
the  most  successful  motion  pic- 
tures ever  produced. 


stage  for  forty.) 
But  he  looks  years 
younger  in  person 
than  he  does  in 
photographs.  His 
skin  is  as  clear 
and  as  pink  as  a 
boy  of  twenty. 
His  eyes  shine.  He 
has  no  wrinkles 
whatsoever. 

His  figure  is  thin 
and  supple.  His 
hands  are  firm, 
sensitive,  beauti' 
fully  shaped.  _  In 
fact,  his  whole  ap' 
pearance  was  so 
youthful  that  I 
couldn't  get  on 
with  my  inter- 
view. I  had  the 
bad  manners  to 
stop  and  ask  him 
how  he  managed 
to  keep  so  young. 

"Being    on  the 
stage  has  kept  me  from  growing  old,"  Arliss  was  good 
enough    to    answer.      "And,"    he    added,  "working 
in  talking  pictures  in  Hollywood  is  helping  to  keep  me 
young. 

"When  you  are  on  the  stage  or  working  in  pictures, 
you  are  taken  out  of  yourself.  You  do  not  have  any 
time  to  think  about  your  own  troubles  or  ailments.  You 
go  to  the  theater  (and  when  I  say  theater,  I  use  it  in  its 
larger  sense  meaning  both  stage  and  screen)  you  may  feel 
like  the  devil.  But  you  put  on  your  make-up,  and  by  the 
time  you  have  been  playing  a  few  minutes,  you  feel  fine. 
Anybody  who  is  engaged  in  creative  work  that  they,  love 
is  bound  to  feel  young." 

We  know  that  is  true.  Eleanore  Duse  was  a  striking 
example.  Sarah  Bernhardt  another.  The  latter  was  over 
seventy  when  she  made  the  film  "Camille." 

However,  the  cases  of  Duse  and  Bernhardt  were  dif- 
ferent from  that  of  Arliss.  They  were  old  but  gave  the 
illusion  of  youth  on  the  stage.  Arliss  plays  mature  men 
on  the  stage,  but  when  he  steps  through  the  stage  door 
into  the  harsh  light  of  day,  he  doesn't  give  you  the  illusion 
of  youth,  he  makes  you  feel  the  reality  of  it,  as  borne  out 
by  his  own  mental  and  physiological  characteristics. 

Mr.  Arliss  had  just  returned  from  a  vacation  in  England 
to  start  on  his  new  talking  picture,  "Old  English."  When 
he  landed,  he  said:  "Although  I  am  devoted  to  the  stage 
and  always  plan  to  do  one  play  a  year,  at  least,  I  really 
like  talking  pictures. 

"I  feel,"  he  continued,  "that  the  legitimate  stage  will 
help  the  talking  screen  and  the  talking  screen  will  be  of 
benefit  to  the  stage.  One  of  the  most  important  ways  in 
which  the  theater  can  assist  talkies  is  due  to  the  fact  that 
the  stage  is  the  'trying  out  ground1  for  the  screen.  Many 
of  the  better  films  have  evolved  from  successful  stage 
productions. 

"Talking  pictures,  on  the  other  hand,  will  eliminate 
from  the  legitimate  theater  commonplace  and  inferior  plays. 


Mr.    Arliss   as    the  humorously 
sinister    Rajah    in   "The  Green 
Goddess,"  his  enormously  popu- 
lar stage  and  screen  role. 


It  is  impossible  for 
the  legitimate  stage 
to  play  at  film 
prices.  They  are 
bound  to  charge 
more  money.  And 
when  they  charge 
more,  they  are 
bound  to  give  the 
public  its  money's 
worth  in  enter- 
tainment. 

"While  talking 
pictures  also  bring 
fine  enteratinment 
to  many  millions, 
there  will  always 
be  those  people 
who  will  want  to 
see  flesh  and  blood 
actors.  Then,  too, 
there  will  always 
be  plays  which  will 
not  be  considered 
a  good  choice  for; 
talking  pictures; 
plays  that  are  de- 
vised to  appeal  to  a  more  or  less  limited  audience.  But 
the  fact  that  talking  pictures  are  so  good  will  keep  the 
theater  on  its  mettle,  impel  it  to  be  better  than  it  is  now. 

"The  potentialities  of  talking  pictures  are  even  now 
unguessed.  It  is  not  as  though  some  little  man  were 
hidden  in  a  room  making  experiments  all  to  himself.  In- 
stead, there  are  many  rich  corporations  paying  large  sums 
of  money  for  experimental  purposes.  Improvement  is 
bound  to  come  rapidly. 

"The  mechanical  improvement  is  what  is  most  necessary. 
Already  the  producers  have  procured  good  actors,  fine 
directors,  excellent  technicians.  But  the  voices  of  the 
actors  must  be  reproduced  as  they  really  are. 

"For  instance:  do  you  know  that  at  the  present  time, 
the  microphone  can  only  pick  up  approximately  .one-third 
of  the  modulations  of  the  human  voice?  As  the  mechanical 
contrivance  is  improved,  a  greater  variety  of  these  modula- 
tions can  be  reproduced,  making  the  tone  more  natural. 

"Another  point  which  producers  are  only  beginning  to 
discover  is  that  moving  picture  audiences  are  willing  to 
listen  as  well  as  look.  Formerly  the  heads  of  film  cor- 
porations used  to  think  that  audiences  would  not  listen 
to  conversation.  I  think  the  future  of  talkies  is  going  to 
be  far  more  interesting  soon  because  those  in  charge  are 
going  to  rely  so  much  more  on  real  literature  than  on 
pictures.  The  spoken  word  will  actually  be  used  to  a 
large  extent. 

"Of  course,  playing  in  talkies  and  playing  on  the  screen 
are  two  different  media.  But  I  never  lose  patience  when 
I  am  making  a  picture  for  I  realize  I  am  dealing  with  a 
machine,  not  a  human. 

"Sometimes  on  the  stage,  an  actor  feels  like  becoming 
impatient  when  his  audience  is  unintelligent,  when  they 
laugh  in  the  wrong  place,  or  something  of  the  sort.  For 
they  are  human  and  should  know  better.  However,  it  is 
no  good  to  get  impatient  with  a  machine  which  is  really 
what  the  talking  picture  is.  (Continued  on  page  125) 


THE  FIRST  INTERVIEW  EVER  GRANTED  BY  GEORGE  ARLISS 
TO  ANY  SCREEN  MAGAZINE!  READ  THE  GREAT  ACTOR'S 
OPINIONS  OF  HOLLYWOOD  AND  TALKING  PICTURES 


22 


SCREENLAND 


How  Are  Your 


This  is  the  New  Salutation  in  Holly- 
wood, where  the  Voice  is  the  Thing 


IF  EVER  youVe  lived  in  Italy 
you  would  think  your- 
self there  again  to  walk 
through  the  streets  in 
Hollywood  these  singing  days. 
The  tree-top  tenors  and  the 
sidewalk  sopranos  me-me-me, 
ah-ah-ah,  and  dough- dough- 
dough  from  sunrise  to  sunset. 
The  other  day  I  passed  one  of 
the  latest  sports  model  cars  on 
the  boulevard  and  from  the 
driver's  seat  I  heard  fish- fish- 
fish-fish.  Later,  I  learned  this 
same  screen  star  had  been  told 
by  his  teacher  that  Madame 
Sembrich  found  that  word  the 
most  efficacious  in  placing  her 
lovely  voice  in  the  right  groove. 
My  next  door  neighbor  bellows 
forth  'Tm  spaking  to  you, 
Molly!"  with  an  Irish  brogue 
you  could  cut  with  an  ax — 
he  says  Eva  Turner,  the  golden- 
voiced  soprano  of  the  Chicago 
Opera,  told  him  that  this  one 
phrase  did  more  to  place  her 
voice    than    any    other    single  exercise 

Only  a  few  years  ago,  in  this  Bagdad  of  the  Pacific,  the 
stars  looked  upon  music  as  a  very  small  part  of  their  lives, 
something  to  call  upon  to  help  them  emote  through  a 
tearful  scene  or  something  to  dance  to.  Tis  all  very  dif- 
ferent now.  At  every  party,  premiere  or  gathering  of 
any  sort,  the  musical 
program  is  a  matter  of 
foremost  importance. 
Singing  lessons,  voice 
culture,  Italian,  French 
and  German  methods 
and  the  'what  have  you' 
of  the  voice  box  are  the 
topics  of  discussion 
among  the  groups  of 
picture  players  every- 
where. 

Some  of  the  greatest 
actresses  of  the  stage, 
Mrs.  Leslie  Carter, 
Laura  Hope  Crews, 
Nance  O'Neil  and  others 
are  teaching  their  sisters 
of  the  one-time  silent 
drama  the  great  art  of 
speaking;  and  be  it  said 
to  the  credit  of  Norma 
Talmadge,  Gloria  Swan- 


Gloria  Swanson   hitting   the   high    c's   to  the 
accompaniment  of  composer  Vincent  Youmans. 
Mr.    Youmans   wrote   the  songs   for  Gloria's 
next  talker,  "What  a  Widow." 


she    knew  of. 


Grace  Moore  and  her  voice  teacher,  Dr.  Mario  Marafioti. 
Miss  Moore  is  to  make  "Jenny  Lind"  as  her  talkie  debut. 


son,  Bebe  Daniels  and  others 
that  they  are  making  great 
strides  in  their  work.  Besides 
the  time  and  money  (which  it 
is  said  comes  to  $1000  a  week 
and  more  for  these  lessons) 
stars  everywhere  are  taking 
singing,  French,  Italian  and 
Spanish  lessons. 

Every  singing  teacher  in 
Hollywood  has  a  different  way 
of  putting  over  his  or  her  stuff. 
The  old  Italian  method  and  the 
one  great  universal  fact  that 
all  teachers  agree  upon  is  that 
the  voice  must  be  forward,  out 
of  the  throat,  and  yet  imbued 
with  the  strength  and  tone 
which  comes  from  the  dia- 
phragm; added  to  this,  a  singer 
must  be  relaxed  and  poised — 
all  these  are  hard  things  to 
teach  to  the  average  Hollywood 
screen  player. 

The  character  actor  of  other 
nations  has  looked  upon  sing- 
ing as  just  as  necessary  to  his 
art  as  walking,  fencing  or  even  breathing;  but  most  of 
our  character  men  would  have  cherished  a  desire  to  punch 
one  in  the  nose  who  had  suggested  to  him  a  few  years 
ago  that  he  take  some  singing  lessons.  Yet  now  the  hard- 
boiled,  broken-nosed,  scar-on-the-face  gangster  and  gun- 
men of  the  screen  walk  down  the  boulevard  with  their 

music  roll  under  an  arm 
vocalizing  as  they  walk, 
as  unconsciously  as 
small  boys  singing  on 
the  way  to  school! 

The  Voice  is  the  thing 
right  now  in  Screenland. 

"How  are  your  pipes?" 
is  the  latest  salutation 
in  Hollywood,  to  which 
the  answer  may  be 
"Not  so  hot";  or  "My 
pipes  are  frozen,  how 
are  yours?"  I  have 
heard  that  the  title  of 
Hollywood's  most  re- 
cent theme  song  is  Hot 
Pipes,  I  Love  Thee! 

The  drug  stores  of 
Hollywood  say  they  have 
never  done  such  a  busi- 
ness on  pastils,  throat 
lozenges,    oil  sprays, 


for    July    19  30 


23 


^PlPES? 

By 

Aime'e  Torriani 


gargles  and  what  have  you  for  the  throat.  All  sorts 
of  new  and  harmless  glycerine  drops  are  flooding  the 
market.  The  stars  are  finding  themselves  in  better 
health  and  looking  younger  than  they  did  ten  years 
ago,  for  if  the  truth  were  really  known  and  under- 
stood well  nigh  unto  eternal  youth  is  the  reward  for 
sincere  and  daily  work  on  the  voice.  A  year  in 
Italy  attending  the  performances  at  La  Scala  almost 
nightly  during  the  season  convinced  me  that  these 
Ponce  De  Leons  of  the  film  world  might  do  well  to 
note  that  less  dieting  and  fewer  facials  and  beauty 
treatments  and  more  exercise  and  singing  would  bring 
them  better  and  more  lasting  results. 

My  first  night  at  La  Scala,  sitting  in  the  first  row 
attending  a  performance  of  "The  Masked  Bair1  revealed  to 
me  a  pair  of  legs  such  as  Pd  never  seen  on  Broadway 
nor  in  Hollywood;  while  above  the  knees  in  tights  to 
the  waist  and  on  up  to  the  face  was  the  most  perfect 
figure  I  ever  hope  to  gaz,e  upon.  To  match  this  was  a 
well-shaped  face  that  I  judged  belonged,  to  a  girl  in  her 
twenties.  Later,  I  learned  that  the  possessor  of  the  beau- 
tiful legs  was  a  woman  of  sixty-five  years,  long  famous 
in  the  role  of  the  page  in  Verdi's  famous  opera!  Journet, 
the  superb  bass  baritone,  is  over  seventy,  and  he  could 
race  many  a  man  twenty-five  years  younger  on  looks, 
figure,  and  quality  of  voice.  These  are-  only  two  of  the 
countless  cases  that  I  could  cite  of  singers  who  have 
gained  and  held  tight  to  that  greatest  of  all  life's  gifts, 
youth. 


Mary  Pickjord  and  Constance  Collier  discussing  diction.  Miss  Collier 
acted  as  voice  coach  for  Mary  and  Doug  on  "Taming  of  the  Shrew." 


Catherine  Dale  Owen  didn't  order  chicken  salad  again — 
she  just  said  'prunes'  with  too   much  gusto,  hence  the 
pained  expression  of  Nance  O'Neil. 


The  singer  who  does  not  get  fat  is  the  healthiest  and 
most  youthful  person  in  the  world  in  proportion  to  his 
years;  and  Hollywood,  always  eager  and  ready  to  grasp 
something  new,  has  learned  this  fact  and  all  are  taking 
to  this  new  form  of  indoor  sport  like  a  rosebud  takes  to 
sunshine. 

Tibbett  is  the  Lindbergh  of  the  talkies — he  has  brought 
to  the  sound  screen  what  Lindy  brought  to  aviation;  per- 
fection, attainment;  gained  not  overnight  nor  because  of 
any  push  or  pull,  but  attainment  gained  from  hard  work, 
concentration  and  preparedness.  Lawrence  Tibbett  gave 
his  all  to  become  a  singer;  he  has  studied  against  great 
odds,  without  the  benefit  of  European  training,  yet  always 
ready  and  eager  to  learn  from  those  he  knew  had  some- 
thing to  offer  him  of  the  truths  of  voice  training  or  of 
operatic  tradition.  Hours  and  days,  months  and  years 
of  study  and  constant  work  did  not  seem  too  much  for 
this  man  to  give  to  his  art,  and  his  work 
in  "The  Rogue's  Song"  makes  the  over- 
night crooners  look  like  babies  competing 
in  the  Olympic  Games.  However,  these 
boo'boo-poo'doo  crooners  have  their  place 
in  the  musical  development  of  the  talkies, 
too;  and  who  knows,  one  of  them  may 
grow  into  a  Meistersinger  of  the  Mike! 

Right  now  there  is  sort  of  a  world  pil- 
grimage to  Hollywood — the  first  of  its  kind 
in  our  country.  One  might  put  it  that 
there  is  a  sort  of  a  Shrine  of  Song  being 
erected.  All  the  song  birds  the  world  over 
are  flying  Hollywoodward. 

The  song  writers  from  Broadway,  from 
gay  Paris,  from  Vienna,  Berlin  and  Russia 
are  either  in,  or  on  their  way  to  Holly- 
wood, for  somehow  the  strains  of  the  Pied 
Piper  of  song  have  been  heard  north,  south, 
east  and  west.  Just  what  will  be  the  result 
of  all  the  song  children  who  are  follow- 
ing the  Pied  Piper  cannot  yet  be  foretold, 
but  for  the  moment,  and  it  looks  as  though 
for  many  a  moon  to  come,  the  Holly- 
wood salutation  will  be:  "Good  morning, 


how  are  your  pipes? 


24 


SCREENLAND 


Stephen  Vincent  Benet,  who  wrote  the  100,000- 
word  American  I  Iliad,  "John  Brown's  Body,"  went 
to  Hollywood  to  do  the  dialogue  for  David  W ark 
Griffith's  "Abraham  Lincoln."  Read  his  impres- 
sions of  the  screen  city. 


When  Stephen  Vincent  Benet,  the  poet-author 
of  the  great  American  epic  poem,  "John 
Brown's  Body,11  also  the  writer  of  the  dia- 
logue for  David  Wark  Griffith's  new  talking 
picture  "Abraham  Lincoln,11  was  asked  how  he  felt  after 
completing  the  former  work,  he  replied:  "Just  like  a  per- 
son who  has  given  birth  to  a  baby  grand  piano.11 

Sephen  Vincent  Benet  has  the  gift  of  genius.  But  he 
also  has  the  gift  of  speaking  in  the  vernacular  of  the  man 
in  the  street.  For  that  reason  he  has  made  a  perfect 
scenario  writer. 

Perhaps  your  introduction  to  this  thirty-two  year  old 
American  poet  will  be  when  "Abraham  Lincoln11  comes 
to  your  town.  At  that  time  you  will  see  and  hear  Walter 
Huston,  the  celebrated  Broadway  actor,  as  the  Great 
Emancipator.  But  while  the  voice  will  be  the  voice  of 
Walter  Huston,  the  words  and  the  soul  will  be  the  words 
and  the  soul  of  Stephen  Vincent  Benet. 

It  was  David  Wark  Griffith  who  asked  Mr.  Benet  to 
go  to  Hollywood,  to  write  the  dialogue  for  his  new  speak- 
ing film.  After  spending  ten  weeks  on  the  west  coast, 
Mr.  Benet  returned  to  New  York,  and  it  was  here  that 
I  interviewed  him. 

He  is  the  most  difficult  man  from  whom  I  ever  tried 
to  get  a  story.  Almost  inarticulate.  He  feels  rather  than 
speaks.  To  describe  the  real  man  is  almost  impossible. 
He  gives  out  so  little  of  himself. 

Rail-thin,  he  is  tall,  tired,  diffident.  His  personality  is 
appealing  rather  than  positive.  The  only  place  his  genius 
shows  is  in  his  hands.  They  are  thin-skinned,  thin-tipped, 
beautiful. 

Mr.  Benet  wore,  a  brown  suit,  a  blue  shirt,  and  among 


A  Poet 

goes  to 
Hollywood 

Stephen  Vincent  Benet, 
author  of  'John  Brown's 
Body,"  writes  the  dialogue 
for  the  Griffith  picture, 
"Abraham  Lincoln" 

By 
Rosa  Rally 

other  things,  thick  spectacles.  He  smoked  incessantly,  and 
looked  out  of  the  window  at  the  Hudson  River  while 
talking.    I  suspect  he  likes  scenery  better  than  people. 

In  the  preface  to  his  immortal  "John  Brown,11  Mr. 
Benet  has  described  himself  far  better  than  I  can.  As  you 
perhaps  know,  this  great  work  was  -  written  in  France, 
where  he  was  sent  by  the  Guggenheim  Foundation.  In 
the  invocation,  speaking  of  himself,  he  says: 

"This  flesh  was  seeded  from  no  foreign  grain 
But  Pennsylvania  and  Kentucky  wheat, 
And  it  has  soaked  in  California  rain 

And  five  years  tempered  in  New  England  sleet. 

"To  strive  at  last,  against  an  alien  proof 
And  by  the  changes  of  an  alien  moon, 
To  build  again  that  blue,  American  roof 
Over  a  half-forgotten  battle  tune. 

"And  call  unsurely,  from  a  haunted  ground, 
Armies  of  shadows  and  the  shadow-sound." 

In  the  last  line,  "Armies  of  shadows  and  the  shadow- 
sound,11  he  was,  of  course,  speaking  of  the  Civil  War. 
But  that  line,  to  me,  is  prophetic  of  his  entrance  into  the 
moving  picture  industry,  for  what  are  silent  pictures  but 
'armies  of  shadows,1  and  what  are  the  talkies  but  'shadow- 
sounds?1 

When  I  spoke  to  him  about  Hollywood,  he  said: 
"This  was  my  first  trip  to  Hollywood.  I  went  there 
solely  to  write  dialogue  for  Abraham  Lincoln.  With  the 
exception  of  Mr.  Griffith,  Mr.  Huston,  Douglas  Fairbanks, 
Jean  Hersholt,  and  the  technicians — whom  I  very  much 
admire — I  saw  nobody.  I  simply  shut  myself  up  in  a  room 
and  wrote  the  dialogue.  I  might  just  as  well  have  been 
in  an  office  in  Times  Square,  New  York." 


for    July  1930 


25 


As  we  all  know,  the  benevolent 
octopus  that  is  the  talking  picture,  has 
reached  out  and  grasped  many  masters 
of  many  art  forms  and  taken  them  to 
Hollywood  to  assist  in  making  pic- 
tures. Some  have  done  good  work. 
More  have  failed.  This  is  particularly 
true  of  novelists  and  dramatists.  And 
yet,  nearly  every  great  picture  has  been 
adapted  from  a  great  novel  or  a  great 
play  or  a  great  adventure  by  somebody 
who  understood  real  dramatic  crafts- 
manship. Take  the  first  great  picture 
of  all — and  one  that  is  still  great — 
"The  Birth  of  a  Nation."  This  was 
taken  from  Thomas  Dixon's  stirring 
novel,  "The  Clansman,"  and  was 
adapted  by  Frank  E.  Woods  and 
D.  W.  Griffith,  who  had  a  real  feel- 
ing for  their  jobs.  The  same  is  true 
of  "Abraham  Lincoln." 

In  this  connection,  I  asked  Mr.  Benet 
why  it  was  so  difficult  to  procure  good 
stories  for  the  screen.    He  replied: 

"I  am  not  a  fair  example  of  a 
writer  called  from  another  medium  to 
write  for  the  screen.  I  went  to  Holly- 
wood to  do  a  job  I  liked  extremely, 
on  a  subject  about  which  I  had  read  and  studied  a  long 
time. 

"The  question  of  writing  for  the  screen  is  a  knotty 
problem — one  not  easy  to  work  out.  It  is  not  the  fault 
of  the  writer.  It  is  the  fault  of  the  producer,  and  of  the 
public.  If  the  public  wants  good  stories,  then  the  public 
will  have  to  attend  only  good  pictures,  and  stay  away 
from  the  inferior  ones.  When  you  hit  the  box  office,  you 
get  results. 

"A  producer  has  a  certain  number  of  theaters  which 
have  to  be  filled  with  talking  films.  Consequently,  at  the 
inception  of  the  talkies,  there  was  a  tremendous  demand 
for  stories.  Playhouses  had  to  be  filled.  Something  had 
to  be  thrown  together.  But  now  that  that  first  rush  is 
over,  producers  should  have  some  standard  of  comparsion 
and  stories  should  improve. 

"But  here  again,  the  producer  has  made  a  mistake.  He 
pays  well-known  writers  large  sums  to  go  out  to  Holly- 


A  noted  author,  the  son  of  the  British  Prime  Minister,  and  a  cele- 
brated actor   meet  in   Hollywood.     From    left   to   right:  Stephen 
Vincent  Benet,  A  lister  MacDonald,  and  Walter  Huston. 


A  romantic  scene  from  the  epic  talking  picture  based  on  the  life  of 
Lincoln,    with    Walter   Huston   as    the   Great   Emancipator   and  Una 
Merkel  as  Ann  Rutledge,  speaking  the  lines  written  by  Benet. 


wood  and  write  talking  picture  scenarios.  Many  of  them 
cannot  do  it.  For  the  film  scenario  is  distinctive  from 
every  other  form  of  writing.  You  don't  expect  Irving 
Berlin  to  turn  out  a  'Tristan  and  Isolde,'  nor  do  you 
expect  Richard  Strauss  to  write  a  mammy  song.  There- 
fore, why  should  you  expect  a  novelist  to  turn  out  the 
concentrated  drama  which  is  the  talking  scenario? 

"Many  famous  writing  men  have  had  no  facility  for 
writing  for  the  stage.  Henry  James  never  could.  Nor 
did  Conrad.  Dickens,  in  spite  of  his  enormous  interest  in 
literature,  never  wrote  a  play.  Neither  did  Thackerary. 
But  Victor  Hugo  was  a  master  of  both.  So  is  John 
Galsworthy.  Owen  Davis,  too,  is  one  of  the  few  con- 
temporary writers  who  can  turn  out  both  stage  plays  and 
screen  plays  with  one  hand.  He  can  work  in  almost  any 
theatrical  medium. 

"If  a  writer  has  a  peculiar  sensitivity  for  screen  writ- 
ing, he  can  turn  out  scenarios.  Otherwise  he  has  to  learn 
the  craft.  And  the  only  way  this  can  be 
accomplished  is  by  patience  both  on  the 
part  of  the  producer  and  on  the  part  of 
the  public." 

I,  personally,  feel  deeply  grateful  to  David 
Wark  Griffith  for  introducing  Mr.  Benet 
to  the  films.  And  I  hope  "Abraham  Lin- 
coln" is  not  Benet's  last  screen  master- 
piece. For  more  certainly  than  any  man 
in  America,  this  young  poet  has  the  power 
to  create  and  re-create  again  the  beauty, 
the  romance,  the  glamour  and  the  heart 
break  which  is  America. 

Having  been  born  in  the  town  where 
John  Brown  was  hanged,  having  gone  on 
many  a  straw  ride  where  the  old  song, 
John  Browns  Body  was  sung,  I  never 
had  any  clear  idea  of  the  north  and  the 
south,  the  east  and  the  west,  at  the  time 
of  the  Civil  War.  Having  my  southern 
eyes  full  of  prejudice,  I  didn't  realise  that 
it  was  the  soul  of  John  Brown  marching 
on,  which  fired  the  spark  which  lit  the 
flame  which  Started  (Continued  on  page  127) 


26 


SCREENLAND 


The  camp  in  the  Canadian  wilds  where  Douglas  and 
Shirley   Burden   assembled   their   picture    tribe  and 
technical  staff  for  the  filming  of  "The  Silent  Enemy." 
At  left  (without  hat)  Shirley  Burden. 


FROM  the  eiderdown  and  golden  spoons  of  a  child- 
hood spent  as  the  prised  darlings  of  the  unusually 
rich,  two  sons  of  America's  aristocracy  of  both 
culture  and  money,  have  braved  the  hardships  of 
life  in  the  forest  through  the  long  Canadian  winter  to 
secure  a  motion  picture  of  the  wild  natural  life  of  the 
North  American  Indian.    And  they  did  it! 

The  two  young  men,  first  cousins,  both  millionaires  in 
their  own  right,  are  Douglas  and  Shirley  Burden,  of  the 
better  than  Social  Register  Burdens  who  town-house  in 
New  York  and  do  their  estating  in  the  grandeurs  of  Mount 
Kisco's  exclusive  colony. 

Douglas  is  in  his  early  thirties;  he  is  slender  and  wiry 
with  light  brown  hair  and  clear  eyes.  He  is  highly  strung 
and  acts  quickly  once  he  decides  on  an  activity  and  with 
tremendous  enthusiasm  but  with  an  amazing  patience  for 
detail — an  artist,  a  scientist  and  a  very  clever  young 
business  man. 

Shirley  only  reached  his  majority  this  year 
and  is  the  most  eligible  young  bachelor  in  this 
country.  He  is  tall  and  slim  with  curly  chest- 
nut hair  and  very  merry  blue  eyes.  He  admires 
his  older  cousin  immensely  and  joined  the  pic- 
ture  expedition  enthusiastically,  a  willing  lieu' 
tenant  for  Captain  Douglas. 

Shirley  Burden  learned  the  mechanics  of 
picture  making  and  last  summer  when  the 
cousins  returned  from  Canada  he  ran  the  pro- 
jection machine  in  the  little  theater  he  fitted 
out  on  the  grounds  of  his  estate  while  his 
cousin  edited  and  titled. 

The  picture,  an  epic  of  an  aboriginal  people, 
is  called  "The  Silent  Enemy,"  the  enemy  being 
hunger  which,  to  speak  in  terms  of  the  drama, 
is  the  'villain  and  the  menace  of  the  piece.' 
The  screenplay  cost  $650,000  to  produce — 
about  half  of  this  cost  going  to  the  sound 
features  added  after  the  silent  version  was 
completed.    Paramount  is  releasing  it. 

Douglas  is  an  anthropologist  and  holds  high 
and  voluntary  office  in  the  American  Museum 
of  Natural  History  in  New  York.  From  an 
interest  in  ancient  ,  animals  it  is  but  a  step  to 


Millionaire 

BOYS 
Make  Good 

Movie! 


an  interest  in  ancient  people.  The  anthropologist  became 
fired  with  a  keen  desire  to  make  a  faithful  record  of  the 
fast  diminishing  race  of  the  North  American  Indian,  and 
being  a  modern  young  man  he  turned  naturally  to  the 
motion  picture  as  his  medium. 

He  had  no  technical  knowledge  of  pictures  so  he  went 
to  an  expert  in  such  matters,  Mr.  H.  P.  Carver,  interested 
him  in  his  project,  and  secured  his  co-operation  as  director. 

Together  they  searched  the  files  and  shelves  of  the 
great  libraries  in  New  York  and  the  Smithsonian  Institu- 
tion in  Washington  for  books,  old  manuscripts,  every 
published  and  unpublished  thing  about  Indians;  for  stories, 
legends,  habits,  customs,  costumes,  myths  and  religions — 
all  the  lore  available  to  make  a  true  and  faithful  picture. 
For,  under  the  tutelage  of  Mr.  Carver,  the  scientific 
narrative  had  developed  into  a  story  with  a  theme,  conflict 
and  a  climax. 

In  the  early  summer  of  1928  when  his  friends  and 
family  were  departing  for  the  gay,  social  life  at  Newport, 
Southampton  and  European  resorts,  Douglas  Burden  with 
Mr.  Carver,  left  for  Canada  to  select  the  locale  for  the 
picture  and  engage  the  Indians  who  were  to  be  the  actors. 

All  Eastern  Canada  was  combed  for  true  types  and 
only  full-blooded  Indians  were  wanted.    Whole  families, 


Yellow  Robe,  a  real  Indian  chief  and  man  of  character, 
enacted  the  role  of  the  old  chief  who  ruled  his  people 
wisely  and  well. 


for    July    19  3  0 


27 


How  Two  Sons 
of  America's  Aristocracy 
Turned  Picture  Producers 
and  Made  an  Epic  of  the 
North  American  Indian 

By 

Pamela  James 


The  millionaire  boys  from  Manhattan  lived  in  these  shacks  while 
they  filmed  their  Indian  epic,  braving  the  hardships  of  a  Canadian 
winter  and  arduous  work.    It  was  real  fun  to  them. 


uncomfortable  and 
in  a  canvas  canoe 


fathers,  mothers,  children  of  all  ages,  grandparents  and 
even  great'grandparents  when  they  could  be  found,  were 
hired  to  make  up  the  one  hundred  and  fifty  people  needed 
to  complete  his  picture  tribe. 

They  traveled  hundred  of  miles  in 
crude  vehicles,  over  rivers  and  lakes 
and  packing  it  as  they  went  on  foot 
through  forests  and  over  mountains, 
far  into  the  hinterland  until  they 
found,  in  widely  scattered  places,  the 
principal  characters  for  the  story. 

The  scientist  and  artist  were  per' 
fectly  blended  and  with  the  true  zeal 
of  both  Burden  searched  until  he 
found  the  types  which  fitted  the  char- 
acters he  meant  to  portray. 

Long  Lance,  a  real  chief,  young, 
strong  and  handsome,  was  chosen  for 
the  hero. 

Starlight  for  the  heroine,  and  she 
was  as  pretty  as  her  name. 

Chinko,  an  unusual  boy  of  twelve 
was  a  prize  discovery,  and  his  at- 
tractive personality  interested  his 
employers  so  much  that  when  the 
picture  was  finished  they  arranged 
for  him  to  enter  a  school  to  be  fitted 
for  the  fine  young  manhood  of  which 
he  gave  promise. 

Yellow  Robe,  an- 
other real  chief  of 
noble  demeanor  and 
mighty    strength  of 


Chinko,  a  boy  of  twelve  whose 
unusual  personality  makes  him 
one    of    the    stars    of  "The 
Silent  Enemy." 


face,  a  man  of  char- 
acter who  has  been 
honored  by  the  Gov- 
ernments of  both  Can- 
ada and  the  United 
States,  was  secured 
for  the  role  of  the 
old  chief  who  ruled 
his  people  wisely  and 
well. 

Scarface  for  the 
evil  medicine  man, 
and  an  old  Indian 
woman  for  his  witch 
mother,  took  many 
miles  of  eager  search- 
ing but  at  last  they 


A  few  of  the  Indians  who  play  in  the  picture,  assembled  to  greet 
the  padre  on  a  Sunday.  Note  the  tepees  at  upper  left  and  right. 


were  added  to  the  cast — as  villainous- looking  as  the  most 
ardent  realist  could  desire. 

Early  in  September  they  were  back  in  Ontario  at  the 
temporary  camp  where  they  were  joined  by  young  Shirley 
who  had   spent  his   summer  hiring   lumber   jacks  and 
laborers  who  were  to  fell  trees  and  build  the  winter 
camp  for  the  picture,  buying  sup- 
plies and  materials  and  arranging  for 
dog  teams  to  bring  in  mail,  news- 
papers  and   other   necessary  things 
when  they  would  be  established  for 
the  winter. 

Mr.  Carver's  son,  Richard,  joined 
them  with  the  scenario  and  continuity 
he  had  written  during  the  summer 
and  the  technical  staff  for  the  picture 
which  had  already  been  engaged  in 
New  York. 

'Then  came  the  Indians!'  The 
whole  one  hundred  and  fifty  of  them : 
Ottawas,  Temiscamingues,  Abitiys 
and  Sioux,  to  be  merged  into  one 
tribe  for  the  purposes  of  the  picture. 

When  everybody  had  arrived — 
Indians,  lumber  jacks,  laborers, 
cooks,  technicians,  a  dietician,  a 
doctor,  nurse,  school-teacher  and  a 
priest — everybody  necessary  for  the 
body,  mind  and  soul 
of  the  people  gathered 
together  to  go  back 
into  the  previous 
century  over  the  trails 
of  their  ancestors,  the 
Burdens  were  ready 
to  begin  their  mighty 
monument  on  the 
silver  screen  that  the 
present  and  future 
generations  should  not 
forget  the  ancient 
race  of  the  great  con- 
tinent of  North 
America. 

Over  two  hundred 
and  fifty  in  all,  the 
party  moved  on  to 
the  permanent  camp 
twenty-two  miles 
(Cont.  on  page  111) 


28 


SCREENLAND 


Will  Talkies 

American 


Dr.  Frank  H.  Vizetelly,  Big  Noun  and 
Verb  Man,  Tells  Us  How  the  Sound 
Screen  will  Improve  our  Vocal  Talents 

As    told    to    Gray  Strider 


T; 


|HE  talking  picture  is 
bound  to  influence 
American  speech," 
says  Dr.  Frank  H. 
Vizetelly,  who  in  his  far  from 
easy  lexicographer's  chair,  as 
Managing  Editor  at  Funk  and 
Wagnalls,  has  collected  more 
than  two  million  English 
words,  checked  them  and 
classified  them  in  the  different 
categories  to  which  they  be' 
long. 

"The  talking  picture,"  con- 
tinues Dr.  Vizetelly,  "is  not 
only  bound  to  influence  Amer- 
ican  speech — but  influence  it 
for  the  better.  If  you  wish 
to  improve  your  speech,  an 
easy  way  is  to  drop  into  one 
of  the  many  thousands  of 
talking  picture  theaters  where 
you  may  hear  American 
speech  correctly  spoken. 

"You  notice  I  do  not  say 
English  speech,  but  American 
speech.  For  despite  the  fact 
that  I  was  born  in  the  British 
Isles,  I  consider  that  people 
here  in  America  speak  better 
than  their  British  brethren. 
Hard  and  unmusical  as  Amer- 
ican  speech  often  is,  neverthe- 
less Americans  sound  all  of 
the  letters  and  do  not  distort 

the  rest.  They  do  not  clip  their  kg's,'  use  the  terminal 
aws,1  and  the  feeble  'h's'  so  commonly  heard  in  England." 

Dr.  Vizetelly  is  the  only  man  I  have  ever  heard  who 
comes  right  out  and  says  that  we  Americans  can  hold  our 
own  verbally  with  the  British.  And  he  must  be  telling  the 
truth.    For  I  can't  imagine  any  lexicographer  telling  a  lie! 

In  fact,  Dr.  Vizetelly  has  re-organized  my  ideas  of 
lexicographers  in  general.  I  always  thought  a  lexicographer 
was  an  old  man  in  a  skull  cap,  ambling  around  a  rose 
garden  with  his  nose  stuck  in  a  musty  book.    But  I  was 


He  knows  all  the  words!  Dr.  Vizetelly,  noted 
lexicographer,  is  managing  editor  of  Funk  and 
Wagnalls'  New  Standard  Dictionary.  Read  what 
he  has  to  say  about  the  influence  of  talking  pic- 
tures on  our  speech.  Dr.  Vizetelly,  Litt.D.,  LL.D., 
is  the  author  of  the  valuable  book,  "25,000  Words 
Frequently  Mispronounced." 


wrong,  if  Dr.  Vizetelly  is  at 
all  indicative  of  the  profes- 
sion. This  man  says  he  is 
sixty-six  years  old.  And  he 
must  be  for  he  has  been  an 
Editor  at  the  Funk  and  Wag- 
nails'1  Company  for  forty 
years,  but  he  doesn't  look 
more  than  fifty.  Tall,  straight, 
well-built,  humorous,  enthu- 
siastic, his  big  gray  head  sets 
on  his  strong  shoulders  at  a 
jaunty,  youthful  angle.  He  is 
full  of  jokes  and  common 
sense.  And  his  outlook  is 
commercial  rather  than  high- 
brow, as  the  following  inci- 
dent illustrates: 

"When  I  came  over  here 
to  America  forty  years  ago, 
my  speech  was  as  broad  as 
Broadway  is  long.  I  realized 
immediately  if  I  wanted  to  get 
ahead  commercially,  I  must 
learn  to  speak  in  the  vernacu- 
lar of  the  men  with  whom  I 
was  associated.  People  neither 
like  you  nor  understand  you 
if  you  set  yourself  apart  in 
any  way.  What  may  be  per- 
fectly natural  to  you  may 
sound  affected  to  them.  So 
my  first  lesson  learned  in 
America  was  'When  in  Rome, 
do  as  the  Romans  do.'  And 
that  is  a  good  guide  for  any  young  man  or  woman  who 
wants  to  get  ahead. 

"Now  by  that,  I  don't  mean  that  you  should  corrupt 
your  speech,  lapse  into  slang  or  colloquialisms  or  provin- 
cialisms; but  I  do  mean  that  you  should  combine  the  best 
features  of  your  own  speech  and  of  the  speech  of  your 
educated  associates. 

"But  here  is  another  point  to  remember  when  you  are 
listening  to  stage  or  screen  English,  with  an  idea  of  pat- 
terning your  own  language  after  it.  Good  speech  is  not  the 


for    July    1930  29 

Influence 
Speech? 


ownership  of  a  high-flown  affected  accent,  but  good  speech 
is  the  ability  to  speak  clearly.  That  is  the  reason  it  is 
better  for  you  to  pattern  your  enunciation  after  an  edu- 
cated American  than  it  is  after  an  Oxford  accent,  for 
nearly  all  educated  Americans  speak  clearly,  whereas 
their  British  brethren,  alas,  do  not  always,  as  I  explained 
recently  in  a  movietone  I  made  for  Fox. 

"In  America,  there  are  phonetic  abysses  between  the 
'down-easter'  and  the  far-westerner.  Chicago  does  not 
talk  in  Boston's  vernacular;  Alaska's  English  differs  from 
that  of  Florida;  and  between  Philadelphia  and  New  York 
there  are  detectable  differences.  But,  every  inhabitant  of 
the  United  States  can  understand  every  other  inhabitant. 
In  England,  supposedly  the  home  of  pure  speech,  such  is 
not  the  case. 

"For  instance:  A  boy  from  an  elementary  school  in 
Edinburgh  may  not  be  able  to  understand  a  pupil  of  a 
London  elementary'  school  because  each  speaks  in  a  local 
dialect  with  the  local  accent.  For  that  reason,  the  De- 
partment of  Education  of  Scotland  has  forbidden  the 
teaching  of  southern  English  in  the  Scottish  schools.  In 
London,  they  speak  of  the  Glasgow  accent.  But  the 
Glaswegian  talks  of  public-school  English  as  dialect.  The 
same  is  true  of  the  Colonies. 

"Australian  and  Canadian  English  differs,  and  the  same 
is  true  of  New  Zealand.  A  friend  of  mine,  on  a  visit 
from  New  Zealand  said:  T  left  England  wondering  what 
on  earth  the  English  voice  was.  In  the  North,  tens  of 
thousands  of  English  men  and  women  speak  nothing  but 
dialects.  In  London,  I  heard  cockney  in  almost  every 
street.  In  the  West-End,  well-bred  affected  tones  were  the 
general  rule,  with  the  modulations  produced  as  if  spoken 
around  a  substantial  marble  wabbling  in  the  region  of 
the  tonsils.' 

"There  is  no  reason  for 
Americans  to  have  an  in- 
feriority complex  about 
their  speech.  For  faulty 
as  many  of  us  are,  the 
educated  person  here  in 
the  States  has,  in  general, 
preserved  that  which  is 
best  of  the  English  pro- 
nunciation, modified  in  a 
measure  by  the  influence 
on  this  speech  of  the  in- 
flections  and  intonations 
voiced  by  persons  from 
other  parts  of  this  country. 

"I  as  well  as  anybody 
realize  it  is  difficult  to 
speak  correctly.  The  tend- 
ency to  mispronounce  is 
common.  And  I  am  as 
guilty  as  the  next  man, 
even  after  spending  forty 


years  working  to  bring  about  correct  speech. 

"Very  often  I  talk  over  the  radio.  No  matter  how 
frequently  I  speak,  I  am  always  a  bit  stage  struck  when  I 
stand  before  the  little  microphone.  Even  after  five  years 
of  radio  work,  when  I  stand  there  and  realize  I  am  speak- 
ing to  a  million  people,  my  tongue  plays  tricks  on  me. 

"Some  time  ago  I  was  speaking  over  WOR.  The  word 
"decade'  was  mentioned  by  me.  When  I  finished  my 
speech,  I  put  on  my  hat  and  coat  preparatory  to  leaving 
the  studio.  But  before  I  could  get  out,  Atlantic  City 
called  on  the  telephone  and  a  gentleman  there  asked  to 
speak  to  me.    I  picked  up  the  receiver  and  heard  him  say: 

"  'Dr.  Vizetelly,  how  do  you  pronounce  "decade"?' 

"  'Why,  "dec-ade,"  '  "  I  answered  immediately. 

"  "That's  right,'  he  replied.  'But  you  didn't  say 
"dec-ade";  you  said  "de-cade"!' 

"And  I  had.  At  home,  as  a  child,  among  my  brothers 
and  sisters  we  had  commonly  mispronounced  the  word, 
and  wmat  is  bred  in  the  bone  comes  out  in  the  flesh. 
That  is  why  the  building  up  of  fine,  clear  speech  is  no 
trifle. 

"In  America,  there  are  many  of  us  who  speak  badly. 
And  it  is  not  directly  our  fault.  It  is  due  to  parental 
neglect,  ignorance  or  indifference.  Hard  as  school  teachers 
may  work  to  correct  these  errors,  their  labors  are  of  little 
avail  if  the  diction  in  the  home  is  dominated  by  the 
inelegancies  of  the  street. 

"  "The  spoken  language,'  said  Professor  Raymond 
Weeks,  of  Columbia  University,  New  York,  "is  far  more 
important  than  we  believe.  It  has  been  called  the  gar- 
ment of  the  soul.  It  is  every  person's  duty  to  divest  himself 
of  a  vicious  accent  learned  in  infancy  and  to  put  on  in  its 
place  the  .  .  .  mantle  of  .  .  .  polite  pronunciation.  Nothing 
in  the  world,'  he  continues,  "is  so  intimate  a  part  of  us 

as  our  spoken  words, 
neither  clothes,  nor  furni- 
ture, houses,  books, 
friends,  ideas  —  manners 
even.' 

""While  I  very  much 
admire  American  speech," 
Dr.  Vizetelly  went  on, 
"there  are  several  grave 
errors  which  I  should  like 
to  see  corrected: 

"1.  We  can  not  have 
good  speech  by 
speaking  with 
closed  nostrils. 
That  makes  our 
utterances  sound 
flat  and  nasal,  and 
is  the  fault  which 
the  British  so  ob- 
ject to  in  Ameri- 

(Continued  on  page  119) 


NOW  YOU'RE  TALKING! 

"Good  speech  is  the  ability  to  speak  clearly. 

"If  you  wish  to  improve  your  speech,  an 
easy  way  is  to  drop  in  to  one  of  the  talking 
picture  theaters  where  you  may  hear  Amer- 
ican correctly  spoken. 

"The  words  we  think  were  coined  specifi- 
cally for  the  20th  century  may  go  back  hun- 
dreds of  years.  Take  'whoopee.'  A  Broadway 
columnist  is  commonly  credited  with  coining 
it.  But  he  didn't.  In  a  15th  century  manu- 
script, one  of  Henry  VIII's  chaplains  is 
pictured  as  giving  vent  to  'Whooppe  aloud, 
and  thou  shalt  hear  him  blow  his  horn'!" 

Dr.  Frank  H.  Vizetelly. 


30 


SCREENLAND 


Is  Eric  Von  Stroheim  a  genius,  an  idealist,  a  great  director?  Whatever 
he  is,  whatever  he  does,  he  is  talked  about.    Here  he  is  at  the  Warner 
Studios  ready  to  answer  another  director's  call  to  step  on  the  "Three 
Faces  East"  set  and  do  his  stuff  as  an  actor. 


Mr.  Von 


55 


for    July    19  30 


33 


Portrait    of   Hiss  Garbo 
by  Milton  Broun. 


To  watch  the  great  Garbo  at 
work  on  the  set — that's  the 
ambition  of  everyone  in 
Hollywood  and  points  east, 
north,  and  south.  It  can't 
be  done.  Garbo  doesn't  want 
people  to  watch  her  work. 
But  Sckeenland  was  privi- 
leged, and  saw  the  star  at 
work  on  "Romance."  At  the 
right:  Garbo  playing  a  scene 
with  her  new  leading  man, 
Gavin  Gordon,  as  Clarence 
Brown,  surrounded  by  his 
technical   staff,    directs  her. 


GARBO 


ROMANCE" 


A  Screenland  Scoop! 
On  the  Set  with  the 
New  Romantic  Greta  Garbo 


T 


|HE  pendulum,  has  swung 
back.  Jazz  is  out.  The 
new  Romantic  Age  is 
here! 

We've  long  suspected  it,  the 
mode  has  more  than  hinted  it, 
now  Greta  Garbo  sponsors  it. 
Hail  '"Romance!" 

Imagine,  if  you  can,  the  svelte 
Garbo  in  crinolines  and  flounces. 
Lilies  of  the  valley,  little  curls  and 
curtsies.  Imagine  the  smouldering 
Garbo  in  a  whimsical  romance, 
fragile  as  moonbeams,  sweet  as  an 
old'fashioned  garden,  redolent  of 
lavender  and  old  lace.  Imagine  it 
— of  course  you  can! 

Not  a  Garbo  in  slinky,  swanky, 
subtle  garments,  not  an  earth- 
bound  drab  girl  on  a  coal  barge, 
but  a  lovely  Garbo,  all  poetry,  all 
love — but  with  just  the  right 
amount  of  purple  past,  you  un- 
derstand, for  that's  what  Clarence 
Brown  told  me. 

And  would  you  like  to  peek  on 


A  scene  from  "Romance,"  directed  by 
Clarence  Brown  who  also  made  "Anna 
Christie."  Lewis  Stone  plays  the  friend 
of  Madame  Cavallini,  the  opera  singer, 
enacted  by  the  versatile  Garbo. 


By  Marie  House 


the  Garbo  set?  Well,  would  we 
like  a  slice  of  moon,  we  scoff. 
Can  a  duck — would  we — oh,  don't 
be  silly! 

Clarence  Brown  beckons  us. 
The  door  is  open,  he  will  conduct 
us  on  the  set.  And  who  could  do 
it  better  than  Clarence  Brown,  ace 
director  with  Metro-Goldwyn- 
Mayer,  who  brought  Garbo  to 
such  a  successful  debut  in  the 
talkies,  who  helped  make  that 
tremendous  hit  "Flesh  and  the 
Devil."'  A  director  eminently 
fitted  to  do  this  charming  '"Ro- 
mance" as  the  second  talking 
vehicle  for  Garbo. 

We  are  in  a  rectory.  (Try  to 
act  at  home.)  The  large  Gothic 
arched  windows  are  hung  with 
Christmas  wreaths.  The  snow  of  a 
winter  dusk  is  softly  falling,  out- 
side, of  course.  Here  a  fireplace 
with  its  cheerful  flames,  a  low 
ottoman,  an  easy  chair,  a  grand 
piano    whose    keys    are  mellow 


34 


SCREENLAND 


Here  is  a  new  Greta  Garbo!  A 
lovely  creature  even  more  glam- 
ourous than  she  was  in  her  silent 
films.  As  the  Italian  opera 
singer  who  takes  America  and 
the  heart  of  a  young  clergyman 
by  storm,  Garbo  revives  the  stage 
play,  "Romance" — and  romance! 


Right:  how  do  you  like  our 
Greta's  new  coiffure?  After  in- 
spiring  the  girls  of  the  world  to 
adopt  the  Garbo  Bob,  now  the 
great  idol  goes  romantic  and 
makes  an  old-fashioned  becurled 
coiffure  so  charming  that  it  may 
become    the    mode    for  1931! 


with  delicate  airs,  minuets  and  polkas.  Candles  in  their 
quaint  old  candelabras,  tapers,  daguerreotypes,  charming 
old-fashioned  portraits.  Have  you  the  picture?  Hold  it 
while  the  cameras,  three  of  them,  count  them,  focus  for 
the  shots.  One  to  take  'her,'  one  to  take  'him,1  one  for 
the  twain,  in  this  little  scene  between  Garbo  and  her  lover. 

Here's  Garbo's  new  leading  man.  You'll  want  to  know 
him,  Gavin  Gordon,  a  new  recruit  from  the  stage.  Dis- 
covered, if  you  must  know,  and,  of  course,  you  must, 
playing  in  "Among  the  Married"  in  a  local  playhouse. 
A  tall,  charming,  blond  young 
man,  just  now  arrayed  in  the 
poetic  garments  of  a  young 
clergyman  of  the  1860's. 

Garbo's,  shall  we  say  'sit-in' 
reclines  in  the  easy  chair 
while  Gordon  does  his  stuff. 
A  tape  measure  fixes  distances, 
heights  for  the  cameras,  the 
microphone  on  its  hanging 
crane  is  swung  here  and  there 
to  catch  the  conversation  as 
it  floats  upwards. 

Over  here  in  the  corner, 
behind  these  flimsy  screens 
with  Keep  Out  chalked  in  a 
school-boy  hand,  is  the  im- 
provised dressing  room  of 
Greta  the  great.  Let's  peek. 
A  chaise  lounge,  a  dressing 
table,  a  curling  iron,  two 
books  on  a  low  stand,  "Bible 
Studies"  and  "The  Life  of 
Henry  James"  they  are,  if 
anybody  cares. 

The  directorial  eye  is  every- 
where. Josephine  a  da  mon\, 
who  has  quite  a  featured  part 
as  the  particular  pet  cf 
Madame  Cavallini  (Greta 
Garbo)  makes  herself  at  home 
on  the  director's  arm,  on  his 
shoulder.  A  fascinating  bit  of 
furry  monkey  pep.  Watch  for 
Josephine.   She'll  be  a  hit. 

Sh-s-s-s!  Here  comes  Garbo! 


Garbo  in  a  new  and  different  characterization, 
the  colorful  role  of  Cavallini.    No,  she  will 
not  sing  in  "Romance."   Why  should  she  when 
she  can  look  like  this? 


Do  you  want  to  know  the  truth  about  this  famous 
blonde  from  Sweden?  Yes,  you  do.  And  it's  practically 
unanimous.  Well,  she's  sweet.  She's  shy  but  beautifully 
proud;  she's  tall  and  lovely,  and  those  of  you  who  have 
been  catty  can  go  to  the  foot  of  the  class.  Her  eyelashes 
are  real,  so  there!  She  wears  black  velvet,  with  tight- 
fitting  bodice,  long  flounced  skirt,  short  puffed  sleeves. 
Blonde  hair  in  a  cascade  of  tiny  curls;  delicate  cameo-like 
features.    Our  Greta! 

We  sidle  up  to  Mr.  Brown.   Tell  us,  we  wheedle,  just 

a  little  of  what  is  in  store  for 

us. 

"The  public  will  find  in  this 
picture,  more  of  the  Garbo 
they  are  used  to,  a  different 
Garbo  from  Anna  Christie, 
yet  essentially  the  same.  A 
sophisticated  woman  of  the 
world,  a  lovely  opera  star  who 
has  a  tender  romance  with  a 
young  clergyman.  In  the 
O'Neill  drama  they  were 
earthy  characters  with  a  sordid 
background.  Here  we  have 
somewhat  the  same  situation, 
in  a  satin  atmosphere." 

And  the  love  scenes,  we 
breathe? 

"There  are  scene  after  scene 
tenderly  played,  the  more 
poignant  because  you  see  this 
famous  diva,  this  sophisticated 
worldling,  in  these  whimsical, 
quaint  little  love  sequences. 
This  is  quite  the  first  time 
Greta  has  appeared  in  such  a 
setting." 

We  try  to  adjust  Greta  to 
this.  And  does  she  like  it,  we 
want  to  know? 

"She  adores  these  crinolines 
and  flounces.  The  tiny  hats. 
And  it  is  a  lovely  story.  I 
like  it  myself.  I  find  myself 
enjoying  it  more  and  more." 
(Continued  on  page  116) 


Speaking  of  Clara's  summer  1930  model  bathing  suit, 
is  it  possible  there's  just  one  string  to  our  Bow?  Or 
perhaps  that  smart  little  lacing  is  just  the  tie  that  binds. 
The  tie  laces  up  the  decolletage  of  Clara's  white  jersey 
one-piece  with  bright  blue  ribbons.  Note  the  little  red- 
head's new  beach  shoes — comfortable,  with  their  sensible  ' 
heels,  but  very  smart,  too. 


Otto  l>u<" 


Below:  a  glimpse  of  the  bathing 
beauties  encountered  on  the  beaches 
in  the  Gay  Nineties.  These  girls 
are  actresses  from  "The  Florodora 
Girl."  From  left  to  right:  Lenore 
Bushman,  Patricia  Caron,  Ethel 
Sykes,  Ilka  Chase,  Marion  Davies, 
Vivian  Oakland 


Manatl 


Ah,  there,  Leila  Hyams!  White  is  definitely  popular 
for  swim  suits  this  season;  either  for  the  entire  ensemble 
as  in  Miss  Bow's  suit,  or  just  the  top,  as  preferred  by 
Leila.  The  'shorts'  are  of  black  jersey;  made  in  a  cir- 
cular fashion,  they  are  snug  at  the  top  and  flaring  toward 
the  hem.  The  tuck-under  tops  with  'shorts'  are  much 
worn  on  our  best  beaches  by  some  of  our  very 
smartest  young  things. 


After  all,  there  is  nothing  like  the  conventional, 
one-piece  bathing  suit,  of  this  year  or  last  year 
or  the  year  before,  particularly  when  owned  and 
occupied  by  Lottice  Howell.  Miss  Howell's  suit 
is  new  this  year;  but  even  if  it  weren't! 


C.  ,S.  Bull 


A  modern  girl  in  a  modern  swim  suit: 
A  nita  Page,  casting  her  shadow  before  her. 
Anita  would  grace  any  bathing  suit,  but  this 
seems  to  be  an  especially  pretty  one. 
Perfect  for  the  jeune  fille. 


Right:  oh,  oh,  Dorothy  Jordan!  You're  not 
going  to  get  that  beautiful  suit  all  wet,  are 
you?  Still,  the  bathing  cap  looks  as  if  you 
mean  business.  Dorothy's  suit  adopts  two 
shades  of  green,  the  top  part  showing  a 
lighter  shade  with  piping  of  the  darker  green 
matching  the  shorts. 


Not  since  the  good 
old  Mack  Sennett  days 
have  we  seen  so  many 
bathing  beauties  and 
diving  divas!  But  who 
could  si%h  for  the 
good  old  days  when 
we  can  look  at  A  lice 
White  rifht  now? 


Jeanette  MacDonald's  single  piece  suit  flaunts  a 
waistline  decolletage  for  sun-tan  purposes.  A 
narrow  strap  at  the  neck  holds  the  suit  in  place, 
eliminating  shoulder  pieces  that  do  not  allow  the 
back  to  sun-tan  evenly.  W ell,  we're  all  in  favor  of  it. 


Here's  what  we  call 
team  work,  or  hands 
across  the  sea,  or 
across  the  page.'  It 
takes  a  trained  acro- 
batic dancer  like 
Dorothy  McNulty  to 
do  this  stunt. 


Here's  a  new  one — fish-racing. 
Leila  Hyams  and  Dot  Sebas- 
tian, extreme  left,  play  a 
game  of  racing  along  the  beach 
with  their  rubber  fish  and 
landing  in  the  breakers — with 
a  splash,  and  giggles.  Try  it 
yourself  some  time,  only  first 
catch  your  fish. 


So  This  Is 
Summer! 
(We  Like  It) 


C.  S.  Bxdl 

Blending  with  the  golden  summer  landscape,  the 
yellow  printed  pajama  suit  worn  by  Bessie  Love 
matches  her  yellow  straw  hat  and  hair.  Yellow 
>andals  also  carry  out  the  color  scheme  of  the  little 
Love's  ensemble. 


You  have  to  be 
as  supple  as  Dor- 
othy's pal,  Mary 
Lawlor,  to  regis- 
ter a  kick  like 
this.  Try  it  some- 
time on  your  own 
beach;  but  don't 
blame  us  for 
breakage. 


Right:  Gwen  Lee  rests  be- 
tween swims,  wearing  a 
becoming  two-piece  bathing 
suit  showing  a  combination 
of  white  and  powder  blue 
— ideal  for  blondes  with 
Gwen's  white  skin  and  blue 
eyes.  Her  cap  is  of  white 
felt— Miss  Lee's,  not  the 
lady's  on  the  rubber  pillow. 


For  girls  who  wish  to  defy  the 
sun,  Mary  Brian  suggests  this 
pajatna  costume,  with  long 
sleeves  and  high  neck.  The 
blouse  is  of  red  and  white  dots; 
the  trousers  of  cream  sateen. 
The  sun  hat  completes  this 
practical  ensemble  designed  to 
preserve  Miss  1930's  skin. 

Below:  Gwen  Lee's  "prisoner's 
suit."  The  stripe  supplies  a 
new  idea  for  beach  sports  wear 
this  season.  The  pattern  is  in 
green  and  white  linen,  the 
stripes  being  used  for  the  blouse 
and  parasol,  bag  and  border  of 
the    sleeveless  jacket. 


Something  really  new  in 
bathing  suits  is  sponsored 
by  Lillian  Roth.  It's  the 
'  on  e  ■  s  ho  u  Id  er'  model, 
which'  ignores  one  arm 
completely,  and  the 
trunks  of  which  flare 
jauntily  into  circular 
folds.  Black  and  white 
shantung  and  Lillian 
Roth  made  it. 


Richec 


Left:  Lottice  Howell  plays  pirate 
in  this  gay  suit  of  red  and  white 
— check  and  double  check!  A  white 
bandanna  completes   the  costume. 


Below:  the  modernique  influence 
in  beach  wear  is  seen  in  this  strik- 
ing   three-piece   black   and  white 
pajama  suit  of  Mary  Brian's. 

Otto  Dyar 


Hurrett 


Joan  Crawford,  left,  is  one  of  the  famous 
film  stars  who  help  to  set  the  summer 
styles  on  California  sands.  Here  is  Joan's 
favorite  beach  pajama  outfit:  of  bright 
printed  silk,  with  fitted  bodice,  and  snug- 
fitting  trousers  which  flare  toward  the  ankles 
in  approved  sailor-boy  fashion. 


Below:  only  for  swimming  will  girls  appear 
in  abbreviated  costumes  this  summer,  says 
Leila  Hyams.  Out  of  the  water  they  will 
don  enveloping  pajamas  with  widely-flared 
trousers.  Miss  Hyams'  costume,  of  jersey, 
has  the  knee-length  coat,  favored  quite  as 
much  as  the  short  jacket. 


For  the  yacht  club  and  the  beach, 
June  Collyer  suggests  dotted  paja- 
mas in  red  and  white.  The  bow 
fastening  of  the  coat  strikes  a  new 
note.    (To  the  right.) 


Below:  Anita  Page  proves  how  at- 
tractive a  summer  girl  can  be  in  the 
new    beach  ,  costumes,    in    spite  of 
their  all-enveloping  patterns. 

Bull 


Brow  n 


Two  tittle  picture  girts  out  for  a  record:  Dorothy  Sebastian  and  Leila 
llyams,  after  a  hard  day's  swimming,  turn  on  their  portable  phonograph. 


We  can't  imagine  a  more  charm- 
ing opponent  for  a  good,  rousing 
game  of  medicine  ball  than 
Dorothy  Jordan,  all  tricked  up 
in  her  best  beach  costume,  with 
wide  trousers  with  their  snappy 
stripe.  But  it  might  be  hard 
for  a  mere  man  to  keep  his 
mind    on    the    game.     ( Left.) 


Lottice  Howell,  a  new-comer  to  the 
screen  from  the  Broadway  stage  and 
the  radio,  has  lost  no  time  in  acquir- 
ing the  best  California  customs.  She 
is  converted  to  the  one-piece  bathing 
suit,  and  no  wonder. 


Leila  isn't  kidding;  she  really 
can  dive,  and  does.  But  before 
she  takes  the  plunge  she  wishes 
to  call  your  attention  to  her 
bathing  shoes  which,  she  says, 
are  so  practical  you  don't  know 
you  have  'em  on,  and  you  can't 
kick  them  off.  All  right,  Leila 
— now  go  ahead. 


TTwrreU 


Below:  a  beauty  in  a  pure  white 
bathing  suit — Billie  Dove.  To 
complete  a  perfect  ensemble, 
Billie  wears  a  white  beret.  She 
is  a  hearty  follower  of  the  sun- 
tan  mode;  she  tans  easily  and 
stays  that  way  most  of  the 
year,  for  she  spends  much  time 
at    her    Malibu    Beach  house. 


8.  Kv)l 


Versatile,  this  Hyams  girl!  Not 
only  is  she  a  lithe  young  athlete, 
but  give  her  a  few  minutes  and 
she'll  show  you  the  very  newest 
thing  in  lovely  lounging  pajamas. 
Of  a  conventional  flower  pattern, 
this  costume  is  carried  out  -in 
bright   reds,   greens,  and  yellows. 


Hurrell 


Nancy  Carroll  represents  the  eter- 
nal feminine  on  the  summer  sands. 
She  wears  a  soft,  dainty,  cool  and 
luscious  concoction  with  an  unusual 
treatment  of  the  sleeveless  blouse. 
Note  the  becoming  neckline  with 
its  gay  and  perky  little  bow.  Wide 
trousers — aren't  they  all?  (Below.) 


Right:  most  elaborate  is  Jean 
Arthur's  beach  costume  of  satin. 
Flaring  trousers  are  created  in 
cream  satin  and  the  jacket  goes 
patriotic  with  strips  of  red, 
white  and  blue.  A  large  hat  of 
leghorn  defies  dat  ol'  davil  sun. 


Give  her  a  swimming  pool  and  a  spring- 
board and  Anita  Page  forgets  all  about 
beinf  a  movie  star  and  acts  her  age — 
nineteen.  In  her  plain  little  one-piece 
this  famous  featurette  looks  like  some- 
body's kid  sister,  crashing  the  old 
swimming  hole. 


4 


//  you  have  a  smile,  including 
dimples,  like  June  Collyer's,  the 
perfectly  plain  and  utilitarian 
bathing  cap  need  hold  no  terrors 
for  you.  This  model  was  made 
for  swimmers,  and  fits  snugly, 
clasping  under  the  chin.  If  you 
can  swim,  be  brave  and  wear 
one  like  it!  (Below.) 


Wm.  Grimes 


Above:  The  new  and  prob- 
ably most  popular  beach 
clogs  have  baby  French  heels, 
which  give  the  feminine  foot 
graceful  lines.  They  are  only 
to  be  worn  when  the  strenu- 
ous part  of  your  outing  is 
over,  and  you  want  to  sit 
back  and  adorn  the  picture. 

And  now  we'll  have  to  call 
it  a  day — one  crowded  day 
at  the  beach  with  the  favor- 
ite beauties  of  Hollywood. 
May  Moylan  snatches  just 
one  more  minute  of  spark- 
ling sunshine  before  she  has 
to  answer  the  call,  "Back  to 
the  studio;  it's  time  to  get 
back  to  work!" 


On  the  other  hand,  or  head,  we 
have  this  charming  and  decora- 
tive beach  bandanna  worn  by 
Dorothy  Sebastian.  Of  course, 
it's  to  be~  donned  after  you  have 
had  your  swim  and  are  ready  to 
be  beautiful.  Of  silk  mesh,  it 
curls  coyly  and  captivatingly  on 
fair  shoulders. 


V 


f 


for    July    19  30 


51 


DO-RE-MI 

DENNY 

Reginald  Becomes  a 
Song  and  Dance  Man 
for  Cecil  De  Mille 


By 

Ralph  Wheeler 


G 


O  ON  out  and  get  an  interview  with  Reginald 
Denny  on  singing,"  said  my  editor  to  me 
in  her  busiest  tone  of  voice. 
"Singing?  Denny?"  I  repeated.  "Have  you 
gone  goofy?  Reg — he  lets  me  call  him  that — is  a 
slapstick  comedian,  not  a  singer." 

My  editor  gave  me  one  of  those  looks. 
"This  time  your  information  channels  have  slipped 
up,"  she  informed  me.  "Denny  not  only  sings  but  he 
is  going  to  have  the  big  male  part  in  Cecil  De  Milk's 
new  musical  show — let  me  see,  what's  the  name  of  it? 
Oh,  yes,  'Madame  Satan.'  So  get  on  out  there  and 
give  me  a  story  with  meat  to  it." 

Saying  which  she  turned  resolutely  to  her  desk. 
I  wandered  out  of  the  office,  Denny-bound,  but  as  I 
wandered  I  thought  I'd  make  a  little  test. 

I  went  over  to  the  office  boy  who  sees  all  the  pictures. 
"Do  you  know  that  Reginald  Denny  is  a  great  singer?" 
I  asked. 

"Reginald  Denny?"  he  repeated.  "Say,  that  guy  sure  is 
funny.  I  don't  remember  the  name  of  the  picture,  but 
he  sure  took  some  fall  out  of  that  speedboat." 

"Do  you  know  anything  else  about  him?"  I  interrupted. 

"No,"  replied  the 
pencil  sharpener, 
vaguely,  "he's  just  a 
comic,  isn't  he?" 

And  the  girl  at  the 
front  information  desk : 

"Reginald  Denny 
sing?  Well,  if  he  did, 
I  never  heard  of  it." 

At  lunch  I  met  two 
of  my  friends  who 
write  for  other  maga- 
zines. They,  too,  knew 
of  only  one  Denny, 
the  comedian. 

The  world  began  to 
seem  brighter.  Maybe 
I  had  a  scoop  after  all. 

I  found  Denny  in 
Nils  Asther's  old  dress- 
ing  room,  Nils  being 
on  location  in  Mexico. 


Reg  Denny  and  Kay  Johnson  do   their  exercises  for  a 
dance  in  "Madame  Satan,"  coached  by  Eddie  Prinz.  Kay 
and  Reggy  have  the  leads  in  the  De  Mille  musical. 


Reginald  Denny  goes  over  the  script  of  "Madame 
Satan,"  his  first  singing  role  in  pictures.    He  once 
warbled  in  light  opera  on  the  stage. 


"You've  been  holding  out  on  me!"  I  accused  him.  "You 
never  told  me  you  could  sing!" 

He  grinned,  that  infectious  Denny  grin  which  has  made 
him  a  tidy  fortune. 

"Well,"  he  replied,  "you  never  asked  me,  and  for  ten 
years  I  haven't  sung  professionally,  but  the  truth  of  the 
matter  is,  singing  was  the  first  and  real  reason  I  originally 
went  on  the  stage. 

"My  father  and  mother,  you  know,  come  from  an  old 
English  acting  family,  extending  back  to  my  great-great- 
grandfather. I  believe 
that  as  a  professional 
family  we  are  older 
even  than  the  Barry- 
mores. 

"At  any  rate,  after 
my  start  as  a  'walking 
gentleman'  at  the  Duke 
of  York  Theater,  Lon- 
don, when  I  was  six' 
teen,  I  set  my  eyes  on 
a  singing  career,  for  I 
had  developed  a  fairlv 
good  baritone  voice. 

"George  Edwards, 
the  musical  producer, 
agreed  with  me,  and  I 
started  in  the  chorus  of 
'The  Merry  Widow.' 
I  played  in  a  dozen 
companies  of  this  great 
(Cont.   on  page    117)  • 


52 


SCREE 


N  L  A  N  D 


Sidney    Blackmer,    veteran    of    the    14th  Field 
Artillery,  with  the  French  General,  Valerin.  Sidney, 
who  was  in  Euro  fie  when  war  was  declared,  be- 
came a  part  of  the  vast  military  drama. 


HOLLYWOOD  could  celebrate  Independence  Day 
with  a  reunion  of  war  veterans  from  every 
front,  if  it  chose. 

Many  of  those  familiar  with  bombs,  barbed 
wire  and  mustard  gas,  a  dozen  years  ago,  are  now  at  home 
before  camera  and  microphone. 

Screen  heroes,  whose  medals  and  wound  stripes  prove 
their  war-time  valor,  are,  of  course,  modest,  but  the  war 
pictures  now  realistically  rattling  the  dishes  and  shaking 
the  foundations  of  Hollywood  homes  turn  conversation 
into  reminiscences  of  battle. 

Ronald  Colman,  after  serving  four  years  with  the 
"London  Scottish"  (Scotch  unit  of  the  English  Terri- 
torials), had  just  been  mustered  out  when  war  was  de- 
clared, and  can  remember  his  frantic  haste  to  get  back  to' 
his  regiment  to  go  over  with  the  men  he  knew. 

Owing  to  their  experience,  it  took  the  regiment  just 
four  weeks  from  war's  outbreak  to  get  across,  but  on  the 
first  Hallowe'en  during  an  offensive  near  Messines,  a  shell 
fractured  Ronald  Colman's  ankle  bone  as  he  advanced  from 
one  trench  to  another. 

First  he  thought:  "I'm  done  for!"  then  he  decided: 
"I  don't  believe  Fm  hurt!"  and  he  went  limping  on  for 
twenty-four  hours  without  attention.  There  was  no  choice 
at  such  a  time,  but  he  bitterly  regretted  it  when  he  was 
invalided  home  and  had  to  spend  the  rest  of  the  four 
years  assigned  to  light  duty  on  the  Scotch  coast. 

Ronald's  favorite  story  concerns  his  first  experience 
under  fire.  It  was  in  Belgium  and  the  kilties  were  swing- 
ing along  toward  the  front,  passing  as  they  went  the 
wounded  who  came  dribbling  back  from  the  lines. 

An  old  Scotchman  from  the  Black  Watch  was  resting 
by  the  roadside,  his  face  almost  obscured  by  bandages,  as 
Ronald  came  abreast  of  him.  He  gave  the  army  yell, 
'Are  we  downhearted!"  as  they  passed. 


Scene  from  "Journey's 

War  Veterans 
Meet  Again 

By  Ruth  M. 

"NO!"  roared  the  London  Scottish,  as  one  man. 

"Aye!"  returned  the  veteran,  sourly,  "but  ye  blankety 
well  will  be  when  ye  get  around  the  bend!" 

Sidney  Blackmer,  veteran  of  14th  Field  Artillery,  was  a 
civilian  traveling  in  Germany  when  the  war  broke  out 
and  lived  through  strange  and  terrible  dramas  before  he 
got  home  to  enlist. 

He  was  on  the  Russian  border  when  the  hundred  thou- 
sand Russian  troops  marched  across  and  into  the  net  of 
the  enemy,  who  cut  off  their  retreat  and  took  them  pris- 
oner. Sidney,  from 
a  picturesque  little 
inn,    watched  the 
bewildered  Rus- 
sians filing  by. 

One  day  in 
Berlin,  hearing  a 
commotion  outside 
his  hotel,  he 
dashed  out  in  time 
to  see  two  nuns 
in  the  hands  of 
the  police.  .  It 
seemed  that  they 
were  Russian  spies 
who  had  been 
caught  in  the  act 
of  cutting  cables  in 
a  manhole  nearby, 
their  capture 
averting  the  crip- 
pling of  the  city. 

The     German         Ivan  Lebedeff,  in  his  uniform  of 

,.  ,  a  Russian  army  officer.  Lebedeff 

police    rather   got         pl(iyed   a    thrilling   r6le    in  the 

into  the  habit  of  great  conflict. 


j  or    ] uly    19  3  0 


53 


MEMORIES 


E,ul."  Tiffany-Stahl. 


Gordon 


from  Every  Front 
in  Hollywood 

Tildesley 

rescuing  Sidney  from  war-inflamed  Germans  who  took 
him  for  an  Englishman,  before  the  American  Legation  was 
able  to  arrange  for  him  to  leave. 

Ambassador  James  W.  Gerard  had  entrusted  Sidney 
with  despatches  for  Ambassador  Walter  H.  Page  in  Lon- 
don, and  the  young  man  was  thrilled  to  be  a  part  of 
the  vast  drama.  British  submarines  stopped  their  boat  as 
it  crossed  the  channel,  and  searched  the  passengers'  bags, 
scanning  the  precious  'papers'  which  Sidney  had  been 
advised  to  carry  openly.    But  the  searchers  dropped  the 

envelope  immedi- 
ately when  they 
saw  to  whom  it 
was  addressed. 

George  O'Brien 
enlisted  in  the 
navy,  was  assigned 
to  sub-chaser  297 
and  fought  his  way 
to  the  light  heavy- 
weight champion- 
ship of  the  Pacific 
Fleet. 

And  Victor  Mc- 
Laglen  could  al- 
most cover  himself 
with  decorations 
and  honors.  He 
began  in  1914  as 
lieutenant  with  the 
Irish  Fusileers, 

went   to  Mesopo- 
Cltve  Brook  was  one  of  the  first  .  ■. 

to  enlist  when  war  broke  out.   In  tamla  t0  an  exClt' 

France,   he  attained  the  rank  of         ing  campaign 
Major  and  served  four  years.  against   the  Arabs 


Victor  McLaglen's  war  experience  began  in  1914 
with  the  Irish  F usileers.  Above,  left  and  right, 
are  two  special  awards  given  to  Captain  McLaglen 
by  the  British  government  for  distinguished  service. 


and  Turks  and  found  his  biggest  thrill  as  provost  marshal 
of  Bagdad. 

Clive  Brook  was  on  holiday  when  war  broke  out  and 
was  so  afraid  he  might  not  get  in  that  he  telegraphed 
the  "Artists  Rifles:"  "Have  you  room  for  me?"  This 
amuses  him  now.  He  rose  to  be  major  in  France  and 
stayed  for  four  years. 

It  was  about  3  a.  m.  when  he  was  lying  in  a  shellhole 
during  an  engagement  waiting  his  chance  to  move  for- 
ward. Bomeeee!  came  a  bomb.  He  saw  it  hit  near  by 
and  then  he  saw  nothing.  Earth  from  the  new  shellhole 
dug  by  the  missile  had  buried  him  alive,  and  it  was  seven 
or  eight  minutes  before  he  could  dig  himself  out. 

In  London,  where  he  was  sent  to  recuperate,  he  went 
to  the  theater  to  see  "Samson  and  Delilah."  He  can 
remember  up  to  the  curtain  of  the  second  act.  The  next 
thing  he  knew  he  was  hugging  a  mudscraper  on  a  door- 
step clear  across  the  town.  They  call  it  amnesia  and  it 
happened  twice  afterward,  but  he  has  never  been  able 
to  find  out  what  he  did  in  the  gaps  of  time. 

When  the  call  to  colors  came,  Maurice  Chevalier,  being 
in  the  class  of  age  to  serve,  responded  at  once  and  marched 
off  to  the  front.  Nine  months  later,  he  was  wounded  in 
battle  and  taken  back  of  the  lines  to  a  hospital.  While 
he  lay  in  his  cot,  the  battle  raged,  back  and  forth,  back 
and  forth.  Finally  the  line  shifted  sharply,  the  French 
retreated  and  the  hospital  was  in  the  hands  of  the  enemy. 
On  a  stretcher  once  more,  France's  musical  comedy  idol 
was  carried  out  to  the  beginning  of  an  eighteen  months' 
imprisonment. 

"All  Quiet  on  the  Western  Front"  has  a  featured 
cast  of  boys  who  were  in  the  nursery  while  the  real  front 
was  active,  but  there  are  in  the  mimic  army  such  heroes 
as  Captain  I.  R.  McLendon,  6th  Field  Artillery,  1st  Divi- 
sion A.  E.  F.,  who  fired  the  first     (Continued  on  page  114) 


SCREENLAND 

Dolores 
Del  Rio 

offers  a 

Qift 

Dolores  Del  Rio  is  making  her  first  all-talking 
picture  debut  and  her  entree  into  this  gift  depart' 
ment  at  practically  the  same  time.  And  in  both 
cases  you  will  be  a  winner.  In  the  former,  Dolores 
offers  you  entertainment  and  in  the  latter,  luxury. 
Her  picture  is  "The  Bad  One"  but  her  gift  wrap 
is  a  good  one.  It  is  of  orange  transparent  velvet 
with  two  flounces  at  the  bottom  and  a  soft  flounce 
around  the  neck.  It  is  quite  long — just  nice  for 
those  trailing  evening  gowns  that  are  in  vogue  now. 
So  if  you  are  in  the  market  for  an  evening  wrap 
the  way  to  get  it  is  to  write  the  best  letter  answer- 
ing Dolores  Del  Rio's  question.  By  best  letter  is 
meant  the  clearest,  cleverest  and  most  concise. 
Here's  the  question:  Do  you  like  Dolores  Del  Rio 
in  spiritual  roles  such  as  "Ramona"  and  "Evange- 
line" or  passionate,  primitive  roles  such  as  Charmaine 
and  Carmen  or  heavy  dramatic  parts  like  Katusha 
in  "Resurrection?"  Give  reasons  for  your  answer. 

Address:— DOLORES  DEL  RIO 

Scree nla nd  Contest  Department 
45  West  45th  Street 
New  York  City 

Contest   closes   July   10,  1930 


All  photographs 
of  Miss  Del  Bio 
by  John  Miehle. 


The  statuesque  beauty  of  Dolores  Del  Rio  draped  in 
the  gift  wrap — but  not  for  long,  because  it  goes  to  the 
writer  of  the  best  letter  as  a  personal  gift  from  the  star. 


for    July    193  0 


55 


for    July  1930 


57 


The  Mike  Menace 


.  .  .  John  Boles— 
they  thrill  to  his  trill 


A  s  the  "Old  Crow"  flies,  it  doesn't  seem  such  a  far 

/  \  reach  back  to  those  good,  old  (ha-ha)  days. 
/  %  Days  when  one  lonely  buck  looked  big  as  a 
bull's  brogans  to  John  Boles.  Days  when  the 
eternal  question  was  whether  the  last  two-bits  should  be 
blown  at  the  barber's  or  the  beanery.  I  knew  him  then. 
I  knew  him  when! 

We  met  one  day  strolling  along  the  Rialto.  It  was  a 
good  day  for  strolling.  In  fact,  there  was  nothing  else  to 
do.  And  Broadway  is  a  better  place  to  stroll  than  is 
Sixth  Avenue — whether  you're  going  up  or  down.  John 
invited  me  to  eat.  Not  to  breakfast,  or  lunch  or  dine. 
But  just  to  eat.   There's  a  difference. 

'"Let's  walk  over  and  get  some  coffee,"  he  suggested. 

"Why  walk — let's  run,"  said  I,  always  quick  on  the 
trigger  that  way. 

So  we  meandered  toward  the  Plaza.  And  dropped 
into  a  one-armed  joint  around  the  corner.  While  we 
dunked,  there  was  the  polite  patter  of  table  talk  such  as 
one  hears  at  the  Club.  What  club?  Aw,  don't  get  so 
technical! 

"How're  they  breaking,  Johnny?" 

"They  ain't." 

"  'Stough.  Here,  too.  Say,  John,  why  don't  you  take 
the  count?  Quit  this  racket  of  trying  to  get  a  chance 
to  sing.  Cut  out  trying  to  be  a  star.  Beat  it  back  to 
Texas.  Practice  medicine,  and  some .  day  you'll  be  old 
Doctor  Boles,  the  pride  of  Greenville." 

"Well,  I'll  tell  you,  Herb.  One  o'  these  days  some- 
body'U  want  a  fellow  who  can  sing  a  song  in  a  show. 
I'm  going  to  stick  around  'til  that  happens.  And,  what's 
more,  I"m  going  to  start  as  a  star." 

Three  years  later.  Same  Rialto.  Same  Strollers.  We 
met  again. 

"Let's  walk  over  and  get  some  coffee,"  suggested  John. 
"Why  walk — let's  run,"  said  I.    It's  still  a  snappy  come- 
back. 

So  we  walked  toward  the  one-armed  joint  around  the 
corner.  Passed  it.  And  went  to  the  Plaza.  Other  times, 
other  customs.  For  John  Boles  at  least.  Now  that  he 
can  afford  two-pants  suits,  bet  he'd  scorn  to  walk  up  that 
extra  flight.  But  I'll  bet,  too,  that  he's  handy  as  ever  at 
fitting  a  cardboard  inner-sole  to  a  worn-out  shoe.  And 
as  there's  luck  in  odd  numbers,  I'll  offer  a  third  wager. 
That  he'll  never  have  to  do  it  again. 

Over  the  dainty  napery,  the  heavy,  opulent  silver  ser- 
vice,  the  glittering  crystal,  the  mild  Corona  that  is  John's 
one  dissipation,  we  indulged  in  table-talk.  He  talked.  I 
listened. 

He'd  been  right.  One  day  somebody  had  wanted  a 
fellow  who  could  sing  a  song.  The  show  was  "Little  Jesse 
James."  John  started  as  one  of  its  stars.  Then  "Kitty's 
Kisses" — the  play,  I  mean.  The  interest  of  Gloria  Swanson 
in  the  clean  looking  Southerner,  whose  voice,  with  its  bari- 
tone tenor  range,  had  won  the  patronage  of  the  master, 
De  Rezske.    The   lead   in   her  picture,   "Sunya."  The 


By 

Herbert  Cruikshank 


abandonment  of  the  musical  career  he  had  won  through 
sheer  grit  for  a  new  one  in  silent  pictures.  And  then 
the  miracle.  Sound  in  the  cinema.  "The  Desert  Song," 
"Rio  Rita."    Fame.    And  fortune.   That  was  the  story. 

As  he  told  me  I  looked  him  over.  Not  much  change. 
He'd  always  been  immaculate.  But  now  the  collar  and 
cuffs  didn't  need  a  shave  and  haircut  to  trim  away  the 
fringe  of  wear.  The  teeth  were  still  whiter  than  Sahara 
sands — or  those  of  Malibu.  Still  the  straight,  slim  figure 
of  the  athlete.  In  the  old  days  he  kept  it  by  enforced 
diet — and  the  walking  that  saved  carfare.  He's  no  glutton 
now.  And  walking  is  his  one  exercise.  A  singer  can't 
be  muscle-bound. 

His  face  remains  fine-drawn  as  a  fighter's  on  the  eve 
of  fray.  And  the  blue  eyes  retain  a  laughing  fire  which 
is  the  despair  of  all  women  and  the  envy  of  most  men. 
Same  old  John,  I  thought,  except  that  now  when  Boles 
rolls  up  he  gets  a  cheer  instead  of  a  razz.  For  both,  he 
has  his  tongue  in  his  cheek.     I  cut  in : 

"No  foolin",  John,  what's  the  secret  of  this  here,  now, 

(Continued  on  page  121) 


mysterious  power 


John  Boles — at  home  in  talking  pictures  and  in 
Beverly  Hills.  His  next  film  following  "The  King 
of  Jazz"  will  be  "Gypsy  Love  Song,"  with  Lupe 
Velez  and  Jeanette  Loff.  Lucky  John,  say  the 
boys.    Lucky  girls,  say  the  ladies. 


5-8 


SCREENLAND 


i  I 


Greta  Garb 
herself  she 


IN  a  fabulous  city  where  foreigners  are 
no    new    story    and   the    accents  and 
languages  make  the  place  seem  like  the 
Tower  of  Babel,  there  is  a  new  League  of  Nations. 
In  Hollywood  where  the  unusual  is  the  commonplace  and 
the  unexpected  always  happens,  there's  a  new  alliance — 
between  a  Swedish  sphinx  and  a  French  chanteuse! 

A  new  league  between  Sweden  and  France!  But  since 
a  conquering  Napoleon  sent  his  trusted  Marshal  Berna- 
dotte  to  rule  the  country  of  the  North  there  haye  been 
French  kings  on  the  Swedish  throne.  So,  now  in  Holly 
wood  a  friendship  between  Greta  Garbo  from  Stockholm 
and  Fifi  Dorsay  from  gay  Paris.    Is  this  then  so  strange? 

Greta  and  Fifi.  The  ice  of  the  north  and  the  fire  of 
the  south.  The  pale  and  languorous  lily  and  the  bright 
yellow  marigold.  The  deep,  dark  pool  and  the  babbling 
brook.  Shadow  and  sunlight.  Night  and  day.  Cool 
silence  and  gay  laughter. 

Fifi,  the  gay  and  vivacious,  the  song  and  dance  girl, 
the  volatile  Parisienne — who  is  she  that  has  found  a  friend 
in  the  silent  and  mysterious  Garbo? 

The  star  they  say  who  walks  alone,  the  girl  who  prefers 
solitude,  the  great  actress  whom  nobody  knows — how  does 
she  appear  to  Fifi? 

Fifi,  who  was  found  lunching  on  the  Fox  lot  in  between 
scenes  of  her  new  picture,  "Hell's  Belles,"  was  glad  to 


o  is  not  always  aloof,  affirms  Fifi.  When  she  is  just 
's  the  best  of  pals,  with  a  g-r-rand  sense  of  humor. 

£reta 

Garbo,  Girl  of  Mys- 
the   eyes  of 

By  Constance 

tell  her  impressions  of  Greta  Garbo. 

"Yes,"  she  admitted  proudly,  "Greta  and  I  are  very 
good  friends.  You  know,  when  I  came  to  Hollywood, 
meeting  stars  was  no  novelty  to  me  because  I  have  been 
on  the  stage  and  in  vaudeville,  but  I  felt  that  Miss  Garbo 
was  different  and  I  was  thrilled  to  meet  her.  Beca-use, 


for    July    19  30 


59 


There's  a  new  league  between  Sweden  and  France  since  Fifi,  gay 
song  and  dance  girl,  has  found  a  friend  in  the  inscrutable  Garbo. 


FI 


tery,  as  seen  through 
Mile.  Fifi  Dorsay 


Cm 


after  all,  there  has  been  so  much  mystery'  about  her. 

'"But  I  was  surprised  to  find  that  Greta  is  not  alone  the 
aloof,  sophisticated  creature  she  is  pictured.  Oh,  that  too, 
perhaps,  but  I  always  think  of  her  as  just  a  big  kid,  full 
of  life! 

"Of  course,  she  can  be  so  many  different  kinds  of  per- 


sonalities.   That  is  why  she  is  a  great  actress. 
She  throws  herself  into  her  parts  and  becomes 
that  person,  but  when  she  is  just  herself, 
she  is  the  best  kind  of  a  pal,  and  likes  her  jokes. 

"If  you  could  only  see  her  do  my  French  song,  Loo\ 
Into  My  Eyes,  Baby,  the  one  that  I  sing  in  "Hot  For  Paris!1 
She  does  it  with  all  of  the  gestures  and  it  is  very  funny," 
Miss  Dorsay  went  into  gales  of  laughter  at  the  thought. 

"And  remember  that  funny  laugh  I  do — it  goes  ha- 
ha-ha,  deep  and  bass!  Greta  tries  to  do  this,  and  she  some- 
times practices  it  on  the  street  when  she  is  out  for  a 
walk,  and  if  some  one  turns  and  recognizes  her  she  puts 
on  her  most  serious  expression  and  goes  calmly  by  as  if 
she  didn't  see  anyone!" 

Fifi  and  Greta — it's  a  great  combination  and  interesting 
contrast.  Picture  them  speaking  French  or  possibly 
Swedish,  or  again  English  and  exchanging  kyusts'  for 
'zosses'  and  'thees'  for  'zose.'  Miss  Dorsay  admits  a  pas- 
sion for  teaching  French.  Perhaps  the  Garbo  is  her  most 
famous  pupil. 

"In  New  York,"  Miss  Dorsay  confided,  "while  I  was  in 
the  'Greenwich  Village  Follies,'  I  had  a  class  in  French. 
Dorothy  Mackaill  was  one  of  my  pupils.  I  think  perhaps 
I  inherit  my  aptitude  for  teaching.  My  grandmother  had 
a  school  in  France  for  many  years.  I  think  if  I  were  not  an 
actress,  I  should  like  to  teach.        (Continued  on  page  116) 


60 


SCREENLAND 


Born   in   Paterson,  N.  J.;   studio   script  girl;  'bit' 
player — and   star!    An   impression   by   Armando  of 
A  lice  White,  the  girl  the  exhibitors  cry  for. 


Is  Miss  Alice  White,  who  twinkles  so  clearly  in  Holly- 
wood that  sombre  Leningrad  and  slant-eyed  Singa- 
pore see  her  with  delight,  giving  us,  or  giving  her- 
self the  run-around  when  she  says,  in  substance: 
I  am  shy. 

I  feel  misunderstood  by  most  people. 
I  hate  to  be  conspicuous. 

I  go  by  moods,  sometimes  prolonged  for  hours,  or  even 
for  days. 

This  question  is  put  because,  in  reply  to  a  questionnaire 
sent  her  by  Screenland,  she  seems  so  down-right  honest. 
Listen  to  this: 

Question:   Are  your  feet  solidly  on  the  earth: 

Answer:    And  how! 

Alice  White  may  be  remembered  as  the  brunette  in 
"Gentlemen  Prefer  Blondes,1'  for  she  has  since  proved 
that  the  contrary  may  be  true.  This  brunette  simply 
couldn't  be  blonded  out.  She  was  born,  just  a  few  years 
ago,  it  seems,  in  the  silk-mill  town  of  Paterson,  N.  J.,  her 
mother  a  chorus  girl.  Silk!  The  very  thing  for  Alice. 
But  it  appears,  also,  that  it  wasn't  much  more  than  rayon, 
for  some  very  scrambly  years  when  she  was  being  swiftly 
fired  out  of  one  studio  after  another,  not  because  she 
didn't  twinkle,  but  because  she  did.  Wives  and  other 
ladies  were  bitten  by  the  famous  green-eyed  monster, 
jealousy,  and  said:  "Thumbs  down."  Wherefore  she  was, 
every  so  often,  put  in  a  box  and  the  lid  clamped  down. 

Then  something  strange  happened.  Exhibitors  about  the 
country,  theater  managers  and  such,  began  sending  in 
SOS  calls.    Audiences  evidently  were  in  revolt.  Gentle- 


CILICE 
.  .psycho- 

Hollywood's 
Show  Girl  Revealed 
as  She  Really  Is 


men,  and  obviously  ladies,  too- — perhaps  because  she 
was  at  a  safe  distance — were  preferring  the  young 
brunette.  The  lid  popped.  We  had  a  new  star. 
And  lo  and  behold,  she  went  blonde  and  remained 
'preferred'! 

Alice  is  trying  to  go  the  way  of  all  Hollywood. 
You  start  as  a  firebrand,  a  cut-up;  and  then  you 
become  genteel  and  'cultured.'  We  hope  that  Alice 
is  just  doing  it  for  a  stunt,  and  that  it  won't  take. 
For  let's  get  the  straight  of  it.    She  says: 
I  like  to  be  alone  a  good  part  of  the  time. 
I  am  considered  'deep'  by  others. 
I  am  not  a  good  actor  in  public. 
It  is  hard  for  me  to  go  out  and  'self'  myself,  i.  e., 
ask  for  a  job,  a  raise,  make  a  deal,  etc. 

And  she  says,  as  noted  above,  that  she  is  shy,  mis- 
understood, hates  to  be  conspicuous,  and  has  moods  some- 
times lasting  for  days. 

Well,  such  people,  as  a  rule,  are  pretty  much  intro- 
verted: dreamers,  badly  adapted  to  everyday  life  (even 
if  they  are  consummate  artists  like  Greta  Garbo),  awk- 
ward and  aloof,  running  from  people  instead  of  at  them; 
and  who  can  watch  the  merry  antics,  the  nonchalance,  the 
come-hitherishness,  the  sauciness  of  this  Alice-in-screen- 
land  and  confuse  her  from  a  moment  with  Alice-Sit-By- 
the-Fire?  An  extravert  almost  straight  through,  or  we 
are  bad  guessers! 

The  lady  contradicts  herself.    Does  she  not  say?: 
I  am  not  idealistic. 
I  am  practical. 

I  get  over  quarrels  and  disappointments  in  a  flash. 
I  am  a  good  mixer. 

I  am  naturally  active  and  delight  in  doing  things. 
I  am  loving  and  affectionate. 
I  am  realistic  and  have  much  common  sense. 
I  am  easy  going  and  when  I  choose  to  I  am  good  at 
putting  myself  over  with  others. 
I  am  a  go-getter  by  nature. 

No,  we  must  picture  Alice  White  as  an  extraverted 
feeling  type,  simply  radio-active  with  sensation.  Such 
young  ladies  can  be  extremely  realistic  and  practical,  with 
their  feet,  as  she  puts  it,  solidly  on  the  earth;  they  can 
fry  an  egg  or  make  a  business  contract  with  easy  surety; 
they  can  go-get  to  the  queen's  taste;  (that  is  their  de- 
veloped feeling) ;  but,  at  the  same  time,  some  of  them  can 
make  plenty  whoopee,  laugh  and  dance  an  audience  rag- 


for    July    19  30 


61 


White 

analyzed 

By 

James  Oppenheim 


ged,  dazzle  the  languid  gentlemen  dizzy,  and  be  not 
a  little  alluring;  (that  is  sensation,  offsetting  feeling). 
Texas  Guinan  is  an  extreme  case;  for  while  the  blaze- 
lasted,  she  could  say,  "Hello,  sucker!"  and  make 
staid  gentlemen  like  it.  They  felt  flattered  and 
handed  over  their  bank-rolls.  Certainly  that  was 
rolling  practicality  and  brilliant  showmanship  into 
one. 

What  is  it  that  makes  such  women  a  genuine 
delight  to  most  men,  and  very  many  women?  Sen- 
sation is  an  earthy  thing:  it  means  sensuousness,  the 
delights  of  sound,  sight,  touch;  it  means — when  it 
is  honestly  allowed — something  primitive,  even  bar- 
baric, so  that  you  begin  to  hear  the  tom-toms  beat- 
ing.   Most  of  us  have,  through  necessity,  to  bury 
this  barbarism,  this  savage  earthiness,  pretty  deep; 
and  then  an  Alice  White  comes  along  and  stirs  it,  for  a 
moment  into  life.    The  primitive  strings  begin  to  vibrate: 
we  are  in  'the  kingdom  of  the  grape'  where  there  is  dance, 
song  and  sex;  yes,  and  just  a  very  little  bit  of  pleasing 
toughness. 

Alice  White  is  not  an  extreme  case,  but  the  reason 
the  managers  had  to  pop  the  lid  of  that  box  where  they 
kept  hiding  her  was  just  because  the  great  audience  liked 
her  honest,  down-to-earth  vitality  and  allurement.  We 
mustn't,  however,  think  that  because  she  unfailingly  de- 
lights us,  that  she  herself  is  unfailingly  delighted  or  happy. 
She  says,  and  I  believe  honestly,  that  she  has  a  feeling 
of  inferiority  before  others,  with  a  few  exceptions.  Any- 
one, with  common  sense,  who  is  realistic  and  honest,  has 
that  unpleasant  feeling  all  too  often;  and  sometimes  it 
drives  us  to  an  attempt  at  being  what  we  can't  be.  A 
delicate  high-brow  lady,  confronted  with  Alice  White, 
might  feel  inferior  before  her,  just  because  Alice  had  the 
things  she  lacked  and  never  could  have,  the  earthy,  allur- 
ing, sensuous  things;  and  at  the  same  time,  Alice  might 
feel  inferior  because  she  lacked  the  high-brow  qualities. 
Each  would  make  a  mistake  to  imitate  the  other;  they 
would  simply  spoil  what  they  were.  We  all  know  that 
harp-playing  was  once  considered  an  accomplishment  for 
gentle  ladies.  There  was  no  rough-stuff  about  it.  You 
could  sit  in  the  most  graceful  mid-Victorean  attitude  and 
then  with  delicate  fingers  move  gently  to  and  fro  making  a 
music  that  had  tinkling  waters  in  it.  Harp-playing  sug- 
gests something  terribly  polished  up,  something  a  woman 
would  graduate  to,  from  a  finishing  school.     Hence,  it 


A  camera  study  of  Alice.   Oppenheim  finds  her  interesting 
and  hopes  she  will  never  aspire  to  be  dull  and  genteel, 
but  will  keep  right  on  being  colorful. 


doesn't  seem  American  at  all;  it  doesn't  in  the  least  sug- 
gest sports,  whoopee,  sunburn,  bursts  of  loud  laughter, 
rush  and  dazzle.  The  saxophone  comes  closer  to  being 
our  national  musical  instrument.  Yet  I  have  before  me 
three  stills  showing  Alice  White  (apparently)  making 
whoopee  with  a  harp!  At  least  it's  this  way:  she  is 
covered  with  no  more  than  a  bit  of  lace,  held  up  by 
shoulder-straps;  and  as  she  fingers  the  strings  in  one  of 
the  pictures,  she  is  evidently  also  whistling  the  tune,  her 
mouth  being  puckered,  and  her  eyes  googly;  in  another 
picture,  she  stands  behind  the  harp,  holding  it  and  flirting 
at  you  between  the  strings.  That  is  Alice  White!  One 
couldn't  think  of  her  as  a  demure  maiden,  living  up  to 
that  harp;  one  merely  sees  her,  in  person,  using  that  harri 
scandalously  and  delightfully,  as  much  as  to  say:  'You 
can't  put  me  down;  you  can't  scare  me;  you  can't 
quiet  me  down.  The  spirit  of  young  American  whoopee 
in  fact,  is  too  much  for  you.  You  just  set  me  off.  You 
make  me  seem  all  the  more  myself  by  way  of 
contrast.' 

Which  is  just  the  point  I  am  making.  Alice  should 
stay  herself.  In  fact,  I  doubt  that  she  could  be  anyone 
else,  even  if  she  tried. 

A  toast  to  the  young  lady!  She  deserves  it.  She  came 
through  against  an  opposition  as  hard  as  any — that  of  her 
own  sex.  And  let  us  wish  for  her  that  she  doesn't  aspire 
to  be  dull  and  genteel,  instead  of  scintillating  and  delight- 
ful. The  girl  who  was  preferred,  blonde  or  brunette! 
Here's  how! 


62 


SCREENLAND 


Loretta  Young, 
sweet,  cool  and 
dainty,  is  a  per- 
fect example  of 
the  way  every 
girl  would  like 
to  look  in  sum- 
mer. And  every 
girl  may  attain 
these  qualities 
by  protective 
care  and 
grooming. 


SUMMER  TIME  again — and  how  we  would  like  to  rest 
and  play  through  the  long  summer  days  with 
nothing  to  do  or  worry  about,  not  even  faces! 
Did  you  ever  stop  to  think,  girls,  what  a  lot  of 
trouble  our  faces  make?  Well,  that's  because  they're  never 
finished,  so  to  speak:  they're  always  needing  something 
done  internally,  externally,  or  both.  I  don't  know  whether 
it  was  intended  to  be  that  way  from  the  beginning  of 
things  but  that's  the  way  it  is. 

There's  the  external,  beautifully  finished  look  that's 
brought  about  by  careful  grooming  and  intelligent  make- 
up, that  we  must  work  at  every  day.  And  there's  the 
deeper,  finished  look  that's  brought  about  by  being  alive 
and  receptive  to  all  that's  best  in  life  and  by  giving  our- 
selves wholeheartedly  to  the  things  that  count  most  to  us; 
and  that  keeps  us  busy,  too. 

Last  year,  to  be  externally  finished  in  a  smart  way  we 
aimed  to  acquire  a  glowing,  golden  tan  either  natural  or 
by  subtle  make-up  that  needed  no  help  from  nature  and 
was  captivating  on  brunettes,  ash  blondes  and  girls  with 
gold  in  their  hair  and  faces,  but  not  so  good  on  the  pale 
gardenia  type  of  girl  with  no  color  at  all. 

And  now  comes  the  edict  from  the  beauty  authorities 
and  the  stylists  that  skins  are  to  be  fair  this  season,  or  at 
least  their  natural  color.  Clothes  are  becoming  more  and 
more  feminine,  so  complexions,  too,  must  be  feminine. 
The  exaggerated  tan  of  last  year,  real  or  artificial,  is  passe; 
and  even  is  considered  vulgar  by  some  well-bred  women. 
In  fact,  nut-brown  faces,  arms  and  shoulders  emerging 
from  the  new,  dainty,  be-ruffled,  long-skirted  afternoon 


SUMMER 

^Beauty 


How  to  Keep  Fresh 
and  Dainty  through 
the   Sports  Season 

By 

Anne  Van  Alstyne 


and  evening  gowns  would  be  a  bit  in- 
congruous, so  I  suppose  it's  only  logical 
that  complexions  should  be  feminine  and 
as  coolly  beautiful  as  possible. 

Another  convincing  statement  by  these 
same  authorities  is  that  exaggerated  tan 
makes  its  wearer  look  ten  years  older — 
that  the  young  skin  is  one  of  transparent, 
radiant  clearness.  So,  after  all  the  striv 
ing  last  year  for  an  Egyptian  or  South 
Sea  complexion,  it  seems  that  strawberry 
and  cream  is  the  desired  color  combina- 
tion this  year. 

Of  course,  this  means  that  extra  pains  must  be  taken 
with  the  skin  to  keep  it  well  protected  from  sun  and 
wind.  And  not  only  must  it  not  be  allowed  to  take  on 
an  Indian  hue,  it  must  not  be  allowed  to  blister  and  neel 
or  grow  rough,  red,  and  unlovely. 

Now  I  don't  mean  that  you  are  to  spend  the  precious 
hours  of  your  vacation  or  your  summer  leisure  in  beauti- 
fying, nor  do  I  mean  that  you  must  carry  a  parasol  or 
wear  gloves  and  a  veil  and  a  high-necked  bathing  suit. 
You  must  rest  and  play,  yes.  But  you  must  not  rest  from 
giving  your  skin  a  certain  amount  of  attention  for  beauty's 
sake.  A  red,  blistered  nose  is  not  an  asset  in  any  walk 
of  life;  and  while  it  was  smart  last  year  to  let  your  skin 
turn  a  poetic,  olive  tint,  that  was  last  year.  This  year, 
a  brown  skin  is  neither  poetic  nor  smart  and  you  can,  with 
just  a  little  systematic  care,  keep  your  skin  fine-textured 
and  smooth  and  allow  it  to  acquire  only  a  healthy  outdoor 
glow  that  is  natural  and  not  unattractive. 

Now  I  know  you're  thinking  right  here  of  a  girl  you 
met  on  a  camping  trip  last  year  who  could  swim  all  morn- 
ing and  play  tennis  all  afternoon  in  the  blaring  sun,  then 
invite  a  half  dozen  friends  to  an  impromptu  meal  which 
she  cooked  herself  over  a  smoky  campfire — and  still  look 
as  fresh  and  unruffled  as  though  she  had  spent  her  day 
in  a  rocking  chair  on  a  hotel  veranda.  You  thought  it 
was  just  a  knack  she  had — that  she  was  born  that  way. 
But  I'll  wager  that  if  you  sneaked  out  of  bed  early  some 
morning  and  peeped  through  the  flap  of  her  tent  you  would 
find  that  she  owned  a  simple  but  complete  line  of  toilet 
preparations  adapted  to  summer  needs  and  used  them  in 


for    July    19  30 


6} 


a  way  that  kept  her  looking  fresh  and  dainty  under  all 
circumstances.  And  it  isn't  just  having  the  things,  it's 
having  the  will  to  use  them  when  needed,  at  any  time  of 
day. 

Whether  summer  means  a  home  in  the  country,  a  cot- 
tage at  the  beach  or  a  camp  in  the  mountains,  plan  your 
beauty  equipment  as  carefully  and  as  appropriately  as  you 
do  your  clothes.  There  are,  of  course,  vacation  and  trav- 
elling cases  attractively  equipped  with  everything  required 
for  beauty  care,  but  you  can  prepare  your  own  'beauty 
kit1  if  you  prefer.  Many  of  the  best  toilet  preparations 
now  come  in  small  tubes  and  jars  convenient  for  packing. 

Place  in  your  beauty  kit  a  dozen  or  so  small  tubes  of 
cleansing  cream  and  as  many  small  jars  of  skin  freshener 
and  hand  lotion.    These  come  in  sizes  small  enough  so 
that  one  of  each  may  be  tucked  in  the  handbag  to  be 
used  during  the  day  wherever  one  happens  to  be.  Add 
cleansing  tissues,  plenty  of  them,  a  large  jar  of  cream  for 
night  use,  a  box  filled  with  wads  of  absorbent  cotton  in 
handy  sizes  for  powder  and  skin  lotion,  a  jar  of  com- 
plexion oil,  a  perfume  atomizer  filled  with  your  favorite 
perfume,  an  adequate  manicuring  kit,  and  if  you  are  blessed 
with  neither  naturally  curly  hair,  a  permanent  wave  or 
the  ability  to  wear  straight  hair  becom- 
ingly, a  jar  of  waving  lotion  and  a  set 
of  combs.    And  don't  forget  a  big  box  of 
fragrant  dusting  powder,  bath  salts  and 
other  special  bath  accessories;  also,  a  jar 
of  bleaching  cream. 

One  of  the  greatest  handicaps  to  sum- 
mer daintiness  is  excessive  perspiration, 
but  with  care  this  may  be  overcome  or 
at  least  be  made  inoffen- 
sive.     Remember  that 


Anita  Page  achieves  a  natural  effect 
by  choosing  a  shade  in  lipstick  of  per- 
manent quality  to  match  her  make-up. 


Joan  B  enne  tt\ 
demonstrates  that 
nothing  is  better 
for  good  looks 
than  a  good,  hard 
tennis  set. 


and  diminish  moisture. 


Before  exposing  the  body  to  the  sun,  Raquel 
Torres  gives  a  protective  treatment  to  insure 
smoothness  of  texture  and  even  distribution  of  tan. 


body  odors  become 
doubly  offensive  with 
the  heat  and  while 
deodorants  do  not 
take  the  place  of  soap 
and  water  and  are 
not  intended  to,  they 
neutralize  body  odors 
So  do  not  neglect  the  use  of  a 
good  deodorant  if  you  would  walk  coolly  and  fragrantly 
through  the  summer  world. 

Another  handicap  is  superfluous  hair.  Every  girl  wants 
to  enjoy  her  smart  new  bathing  suit,  her  sleeveless  frocks 
and  even  to  go  without  stockings  if  she  wants  to,  with 
the  comfortable  feeling  that  she  is  looking  her  best.  But 
she  can  be  neither  comfortable  or  happy  if  she  knows 
that  the  smooth  surface  of  her  skin  is  marred  by  an  ugly 
fuzz  of  hair.  This  difficulty  may  be  overcome  safely  and 
satisfactorily  by  the  use  of  a  reputable  depilatory.  I'm 
not  promising  that  the  result  will  be  permanent,  but  the 
hair  will  not  come  back  for  several  weeks,  depending  upon 
the  strength  of  the  growth;  and  it  will  come  back  less 
and  less  impudently,  lighter  in  weight  and  color  and  in 
some  cases  may  give  up  the  ghost  and  never  come  back. 
So  add  to  your  beauty  equipment  this  important  accessory. 

We  talked  about  baths  last  month,  but  this  is  what 
might  be  termed  the  bathing  season.  In  fact,  there  are  days 
when  we're  glad  to  live  up  to  our  reputation  as  a  people 
who  glorify  bathrooms,  as  surely  there's  no  place  on  a 
hot  summer  day  where  one  can  take  quite  so  much  com- 
fort, forget  all  one's  obligations  and  simply  bathe  away 
the  hours!  So  when  making  up  your  beauty  kit,  don't 
plan  to  depend  entirely  upon  salt  water  bathing  and 
shower  baths  but  add  a  few  bath  accessories  which  will 
go  a  long  way  toward  making  your  summer  a  comfortable 
one. 

There's  a  new  bath  preparation  which  is  the  concentrated 
essence  of  pine  needles  and  is  as  delightfully  fragrant  and 
woodsy  as  it  sounds.    It  is  at  once  (Continued  on  page  108) 


64 


SCREENLAND 


A  comer  of  the  village,  a 
former  ghost  town  of  Utah, 
revived  for  "The  Arizona 
Kid."  Left  to  right,  direc- 
tor Alfred  Santell,  Mona 
Maris,  Warner  Baxter,  and 
Carol  Lombard. 


s 


he's  a  fine  camp — you'll  like  her,"  said  Cosy. 
He  grinned  at  me  over  his  coat-collar  as 
he  swung  the  heavy  car  into  the  snow- 
covered  main  street  of  Cedar  City,  Utah. 
With  a  squeal  of  brakes  and  the  slither  of  chains  Cosy 
drew  up  at  a  store  and  leaped  out. 

"Jus1  a  minute,"  he  apologized,  "I  promise  a  girl 
there  I  buy  a  pair  of  goloshes  for  her.  Then  we  go." 

Within  the  minute  we  were  heading  over  the  icy 
pavement  toward  Rockville,  a  tiny  village  on  the 
southern  borders  of  Zion  National  Park.  Three  miles 
out  of  Rockville,  director  Alfred  Santell  had  estab- 
lished his  camp  for  the  filming  of  the  world's  first  all- 
outdoor  talkie,  "The  Arizona 
Kid,"  with  Warner  Baxter  in  the 
title    role — and    I    had  always 


On 
LOCATION 

; th 


WIT 10 


Warner  Baxter 


for    July  2930 


6? 


Filming 
"The  Arizona  Kid" 

in  Utah 

By  Sydney  Valentine 


Kolob  Plateau,  a  foot  deep  in  snow,  with  a  hundred  yards 
or  so  as  the  limit  of  visibility,  and  the  thermometer  seemed 
to  have  given  up  the  encounter  in  despair.  But  eventually, 
after  repairing  the  flapping  chains  with  wire  garnered 
from  a  near-by  fence,  we  swung  down  into  a  canyon — ■ 
and  sure  enough  a  patch  of  blue  sky  appeared  ahead. 

The  patch  widened,  and  before  us  lay  a  series  of  dis- 
tant ridges,  chaotic  in  reds  and  blues  and  greens  under  the 
setting  sun.  We  rolled  abruptly  out  of  the  canyon,  and 
threaded  along  the  reddish  clay  road,  through  three  or 


yearned  to  see  the  noted  exponent  of  the  Great  Open 
Spaces  in  his  native  haunts. 

Ten  minutes  later,  the  lowering  clouds  met  us.  A 
stinging  blast  of  snow  piled  on  the  windshield,  and  I  began 
wondering  whether  a  dog  sled  wouldn't  have  been  advisable. 
Cosy  (I  never  knew  his  other  name)  applied  quaint  Can- 
uck expletives  to  the  windshield  wiper  as  it  struggled  un- 
successfully with  the  accumulations  on  the  glass,  and  later 
invented  some  new  ones  when,  one  after  another,  the 
chains  on  the  rear  tires  broke  loose  and  delivered  machine- 
gun  tattoos  on  the  fenders.  It  was  not  an  auspicious 
beginning  for  my  first  trip  into  the  wilds  of  Utah.  But 
Cosy  only  grinned  the  more  at  my  plaintive  query  as  to 
whether  the  camp  was  any  worse. 

"No,  no  snow  there  at  all,"  he  reassured  me.  "Pretty 
soon  we  hit  sunshine — you  see!" 

The  prospect  wasn't  very  encouraging,  nearly  six  thou- 
sand feet  above  sea  level.   We  were  traveling  across  the 


Mono  'Maris,  heroine  of  "The  Arizona  Kid,"  in  the 
wide  open  spaces  of  Utah  where  the  picture  is  beinc 
filmed  and  'rr>;ked.' 


Warner  Baxter  with  the  one  young  lady  in  the  whole 
of  Utah  who  doesn't  aspire  to  be  a  screen  actress. 


four  tiny  villages,  while  beside  us  rolled  the  yellow 
waters  of  the  Rio  Virgin.  Off  to  the  left,  rose  the 
incredible  ridges  and  pinnacles  of  Steamboat  Moun- 
tain, glowing  like  a  huge  carved  amethyst. 

"That's  her — the  camp,"       (Continued  on  page  113) 


i6 


SCREENLAND 


Something  must  be  wrong.  Here  are 
Walter  Pidgeon  and  Frank  McHugh, 
but  who  are  the  two  other  fellows? 


A     comedienne    crying?  We 
don't  believe  it.  Say  it's  not  so, 
Lillian  Roth. 


Famous  star  actually  drives  nails 
in  her  new  Hollywood  home.  Ann 
Harding,  come  on  down  to  earth. 


Above:  Loretta  Young  looks  dag- 
gers at  herself.  She  plays  dual 
role,  good-girl,  bad-girl,  in  "At  Bay." 


Below:  Stanley  Smith  gets  a  mud 
make-up  for  the  football  scenes  in 
"Good  News"  while  Bessie  Love 
looks  on. 


SCREENLAND'S 
SCRE  AMIES 

Our  Own  Funny  Pictures 


Stan  Laurel  and  Oliver  Hardy 
illustrate  what  not  to  do  at  a  din- 
ner party.    Don't  peel  the  olives. 


It  not  only  might  be  Lon  Chaney; 
it  is  Lon  Chaney,  as  the  old  woman 
in   his  first  talkie,  "The  Unholy 
Three."  {Below.) 


Marilyn 

a  la  Mode 


Miss  Miller  in  her  New  Clothes 


Above:  Marilyn  Miller  is  wearing 
a  very  smart  two-piece  sports  dress 
of  yellow  pique.  The  double- 
breasted  effect  is  youthful  and  the 
huge  chiffon  'kerchief  is  a  smart 
accessory.    The  hat  is  white  felt. 


Left:  a  dream  of  a  negligee!  Marilyn's 
favorite  concoction  is  fashioned  of 
pink  moire  trimmed  with  ecru  lace 
bands,  worn  over  a  night  dress  of 
pleated  pink  chiffon  and  lace.  Lovely! 


All  photographs  by 
Apeda,  N.  Y. 


In  the  circle:  a  close-up  of  the  piquant 
lace  cap  that  tops  the  negligee  en- 
semble. It  shows  the  Dutch  influence 
— but  be  sure  you  have  a  smile  as 
fetching  as  Marilyn  Miller's  before 
you  attempt  one  like  it! 


Wear  pajamas  like  this  and  you'll  be  the 
belle  of  the  beach.   They're  of  yellow,  with 
shantung   bell    trousers    and    sweater  top. 
Very,  very  gay. 


Below:  the  perfect  summer  eve- 
ning gown  is  worn  by  Miss 
Miller.  Yellow,  much  favored 
by  this  famous  musical  comedy 
and  screen  star,  predominates  in 
the  figured  chiffon  which  carries 
out  the  high  waistline  effect  and 
oat  and  hips. 


\ 


A  11  the  gowns  worn 
by  Miss  Miller 
courtesy  of  Berg- 
dor  f  Goodman, 
New     York  City. 


DOVE,  BILLIE.  Born  Lillian  Bohny  in  New  York 
City,  May  14,  1903.  Educated  in  N.  Y.;  joined 
Ziegfeld  Follies;  left  to  go  into  pictures;  first 
film,  "Polly  of  the  Follies," .  in  which  she 
played  a  bit.  Five  feet,,  five  inches  tall;  weighs 
115  pounds;  dark  hazel  eyes,  rich  brown  hair. 


Russell  Ball 


L 


LOYD,  HAROLD.  Born  in  Burchard,  Nebraska, 
in  1894.  At  eleven  joined  a  stock  company;  six 
years1  stage  experience  before  making  screen  debut 
as  an  extra.  First  success  as  "Lonesome  Luke" 
in  Hal  Roach  comedies.  Five  feet,  ten  inches  tall, 
weighs  155  pounds.  Married  to  Mildred  Davis. 


I 


GARBO,  GRETA.  Born  Greta  Gustafsson  in  Stock- 
holm, Sweden,  in  1906.  Educated  there;  went  to 
work  in  department  store  as  hat  model  and  sales- 
girl;  left  to  play  small  part  in  pictures;  first  screen 
success,  "Gosta  Berling,11  directed  by  Stiller. 
Came  to  America  and  the  rest  is  history.  Five 
feet,  six  inches  tall;  weighs -125  pounds;  has  natur- 
ally golden  hair  and  deep  blue  eyes.  Unmarried. 


SW ANSON,  GLORIA.  Born  on  March  29,  1898, 
in  Chicago,  111.  Educated  there.  Screen  career 
began  at  old  Essanay  studios;  continued  as  Mack 
Sennett  comedienne;  rose  to  eminence  as  Cecil 
De  Mille  heroine.  Latest  film,  "What  a  Widow.11 
Married  three  times;  to  Wallace  Beery,  to 
Herbert  Somborn,  and  now  to  Marquise  de  la 
Falaise  de  la  Coudraye.  Blue-gray  eyes,  black  hair. 


DODGE,  BETH  AND  BETTY.  Twins!  They  are 
stage  sensations  in  Europe,  stars  of  Folies  Bergere 
in  Paris,  favorites  in  England.  American  girls, 
they  welcomed  a  screen  career  in  Hollywood, 
where  they  will  first  be  seen  in  "The  March  of 
Time."  Five  feet,  four  and  a  half  inches  tall — 
apiece;  with  black  hair  and  dark  ha^el  eyes. 


Ruth  Harriet  Louise 


LOVE,  BESSIE.  Born  Juanita  Horton,  September 
10,  1898,  in  Midland,  Texas.  Educated  in  Los 
Angeles.  Discovered  by  D.  W.  Grimth;  made 
screen  debut  at  fifteen.  After  varying  success  in 
films  went  into  vaudeville;  then  back  to  studios 
for  great  come-back  in  the  talkies.  Five  feet  tall, 
weighs  100  pounds.  Married  to  William  Hawks. 


BOW,  CLARA.  Born  July  29,  1905,  in  Brooklyn, 
N.  Y.  Won  a  magazine  beauty  contest  and 
played  small  part  in  "Down  to  the  Sea  in  Ships.11 
Made  good;  rose  to  bigger  and  better  roles;  labelled 
The  It  Girl  by  Elinor  Glyn  and  became  great  box' 
office  star.  Five  feet,  three  inches  tall,  weighs  110 
pounds.  Has  been  engaged,  but  still  undecided. 


ORTON,  BARRY.  Born  Alfredo  de  Biraben, 
June  16,  1905,  in  Buenos  Aires,  South  America. 
Educated  there;  came  to  America  to  see  Dempsey 
Firpo  fight;  went  to  Hollywood,  where  first  film 
was  "The  Black  Pirate,"  as  extra.  Finally  won 
fame  in  "What  Price  Glory.'"  Five  feet,  eleven 
inches  tall;  weighs  168  pounds.  Now  acting  for 
Paramount.  Happily  unmarried. 


ODD,  THELMA.  Born  in  Lawrence,  Mass.  Com- 
pleted course  at  State  Normal  School  and  taught 
for  eight  months  in  public  schools  of  Lowell,  Mass. 
Won  a  beauty  contest  and  was  enrolled  as  pupil 
of  Paramount  School.  She  and  Buddy  Rogers 
outstanding  graduates.  Now  Hal  Roach  comedy 
heroine.  Statuesque  blonde  with  blue-gray  eyes. 


RATHBONE,  BASIL.  Born  in  Johannesburg,  South 
Africa.  Educated  in  England.  Began  stage  career 
at  age  of  eleven,  in  Shakespeare.  Became  prom' 
inent  actor  on  English  and  American  stage;  now 
popular  leading  man  in  talkies.  Six  feet,  one 
and  one'half  inches  tall;  weighs  165  pounds; 
black  hair,  hazel  eyes.  Married  to  Ouida  Bergere. 


OLLYER,  JUNE.  Born 
Dorothea  Collyer  Heer' 
mance,  August  19,  1907, 
in  New  York  City. 
Educated  there;  made 
social  debut  before  screen 
debut;  both  successful. 
Now  living  and  working 
in  Hollywood,  where  she 
is  an  outstanding  in' 
genue  for  Paramount. 
Curly  chestnut  hair, 
brown  eyes;  five  feet,  five 
inches  tall,  weighs  114 
pounds.  Unmarried  and 
unengaged,  but  oh.  so 
popular! 


Otto  Dyar 


RAY,  LAWRENCE:  Born  in  San  Francisco,  Cali- 
fornia; educated  there  and  at  the  University  of 
California.  An  ensign  in  the  U.  S.  Navy  during 
the  war.  First  picture  work  in  1925  in  "The 
Dressmaker  from  Paris. "  Talking  pictures  brought 
him  new  popularity  in  "Marianne.'"  Latest  film, 
"The  Florodora  Girl."  Five  feet,  ten  inches  tall; 
weighs  160  pounds;  dark  hair  and  dark  eyes. 


EWIS,  MARY.  The  latest  singing  sensation  of 
the  silver  screen.  You'll  read  all  about  her  in 
the  story  on  the  opposite  page.  But  in  the 
meantime  we  just  want  to  tell  you  that  Mary  is 
not  only  a  beauty  and  a  singer — she's  a  real  girl 
whose  sense  of  humor  and  perspective  have  not 
been  warped  by  success. 


for    July    19  30 


"WHO'S 
AN  UGLY 
DUCKLING? 


Mary  Lewis  Says  She  Was 
—But  Look  at  Her  Now! 


By 

Myrene  Wentworth 


BY  her  own  confession,  Mary  Lewis  was  never  an 
example  to  the  other  children  of  the  neighborhood. 
If  she  had  been  she'd  still  be  singing  in  a  church 
choir  back  in  Little  Rock,  Arkansas. 
It  was  to  talk  about  her  new  contract  as  a  screen  star 
that  I  lunched  with  Mary  Lewis.  However,  there  was  a 
precocious  child  at  the  next  table,  gravely  telling  her 
parents  what  they  should  have  for  lunch  to  keep  the 
calories  down.  After  exchanging  amused  grins  at  the 
situation,  our  conversation  drifted  into  juvenile  reminis- 
cence. 

"You  are  gazing  upon  the  original  ugly  duckling/' 
averred  Mary,  mock  dramatically. 


Mary  Lewis'  first  movie  job  was  as  a  member  of  the  A I 
company.  Above;  as  she  appeared  in  "The  Ugly  Duckling 


Mary  Lewis,  noted  opera  singer  now  in  pictures, 
with   Sylvia    Ulbeck,    masseuse   extraordinary  to 
Hollywood's  famous  stars. 


"At  least  she  grew  into  a  lovely  swan,"  I  assured  her. 
"Well,"  laughed  Miss  Lewis,  "no  one  who  knew  me 
during  my  first  fifteen  years  ever  thought  I'd  be  anything 
but  a  scrawny,  freckle-faced  little  brat,  full  of  honest  in- 
tentions but  with  an  infinite  capacity  for  misadventure — 
for  which,  I  might  add,  I  received  frequent  and  thorough 
thrashings." 

Mary  was  born  in  Hot  Springs, 
Arkansas.  When  she  was  less  than 
two  years  old,  and  a  few  weeks  before 
the  birth  of  a  younger  brother,  her 
mother  was  left  a  widow.  In  pursuit 
of  a  livelihood,  the  little  family  mi- 
grated first  to  Little  Rock  and  then  to 
Dallas.  The  struggle  was  vain  and 
finally  the  desperate  mother  put  her 
two  little  ones  in  an  orphan  asylum. 

Within  a  few  weeks  Mary  was  con- 
vinced that  it  was  better  to  starve  in 
the  shelter  of  her  mother's  warm  love 
than  to  die  of  the  filth  and  poor  food 
which  characterized  the  institution. 
After  days  of  effort  she  managed  to 
run  away,  taking  her  baby  brother 
with  her.  How  they  found  their  way 
to  their  mother,  Mary  cannot  remem- 
ber.   Suffice  to  say,  they  did. 

At  six,  the  child  was  a  victim  of 
pernicious  anemia,  from  lack  of  food 
and  medicinal  attention.  A  physician 
told  her  mother  that  two  years  of 
proper  care,  correct  diet  and  sanitary 
surroundings  might  cure  her.  In  this 
Christie    comedy  crisis  thf  wife  of  a  local  minister  came 

nine  years  ago.  forward  and     (Continued  on  page  122) 


84 


SCREENLAND 


Reviews 


t?>  -  SEAL  OF i  : 


Colin  Clive,  center,  heads  the  superb  all-British  cast 
which  interprets  "Journey's  End"  on  the  screen. 


Joe  E.  Brown  and   Winnie   Lightner   provide  hilarious 
comedy  in  fast-moving  farce,   "Hold  Everything." 


Journey's  End 


YOU  know  I  don't  scatter  superlatives  lightly;  so  when 
I  tell  you  that  "Journey's  End"  is  one  of  the  great  pic- 
tures you'll  know  it's  pretty  serious  with  me.  Right  now 
I  had  better  warn  you  that  I  am  prejudiced.  The  play 
by  R.  C.  Sherriff  as  presented  on  the  New  York  stage  was, 
to  me,  a  beautiful  and  moving  thing.  And  the  picture,  contrary 
to  all  precedent,  is  just  as  good  as  the  play.  The  same  man 
directed  both — James  Whale.  The  film  has  a  different  cast,  but 
quite  as  efficient.  Altogether  I  should  say  that  this  motion 
picture  version  of  the  great  English  war  play  is  the  shining 
example  in  screen  annals  of  an  adaptation  that  lived  up  to  its 
promise.  At  first  I  missed  the  flesh-and-blood  actors;  then  the 
beauty  and  pathos  of  the  play  took  hold,  and  I  forgot  I  was 
watching  shadow  men.  It  was  reality — and  out  of  Hollywood! 
"Journey's  End"  is  a  neat  little  triumph  for  Tiffany-Stahl  and 
for  the  movies  generally.  The  superb  cast,  headed  by  Colin 
Clive,  includes  David  Manners,  Ian  MacLaren,  Anthony  Bushell. 


Hold  Everything 


Norman  Foster,  a  newcomer  to  the  screen,  plays  opposite 
Claudette  Colbert  in  "Young  Man  of  Manhattan." 


OLD  EVERYTHING"  has  everything  for  those  who 
like  their  film  fun  frank,  fast,  and  furious.  It's  a 
rousing,  rowdy  comedy  with  no  nuances;  but  who 
wants  to  be  bothered  with  those,  anyway,  when  Joe 
E.  Brown  and  Winnie  Lightner  are  present?  If  you  liked  Miss 
Lightner  in  "Gold  Diggers  of  Broadway"  you  will  go  for  her 
here.  She's  funnier — and  louder.  As  for  Mr.  Brown,  he  works 
hard  and  fast;  and  if  there  are  those  on  the  Broadway  Rialto 
who  claim  that  he  has  imitated  a  certain  other  comedian  named 
Bert  Lahr,  their  contentions  don't  make  Mr.  Brown  less  funny. 
There's  a  slapstick  prize-fight  that  is  the  most  hilarious  ever 
screened.  Take  the  children  and  tie  them  in  their  seats;  or 
they'll  roll  down  the  aisle  and  you'll  roll  right  after  them. 
For  sex  appeal  we  have  Carpentier  and  Sally  O'Neil,  with 
Dorothy  Revier  for  very  good  measure.  But  the  picture  belongs 
to  Winnie  and  Joe;  it's  theirs  to  have  and  to  "Hold  Everything." 
The  opening  in  Warner  Brothers'  new  Hollywood  Theater 
was  an  Event  on  Broadway,  New  York. 


Young  Man  of  Manhattan 


A  ND  what  a  young  man!  From  now  on,  young  girls  will 
/\  be  going  east  instead  of  west.  Norman  Foster  plays 
the  title  role  in  this  screen  adaptation  of  Katherine 
~"  Brush's  popular  novel.  He's  something  new  in  film 
heroes.  He  doesn't  sing.  He  isn't  particularly  handsome.  But 
the  boy  brings  a  fresh  quality  to  pictures — an  average,  well- 
meaning,  lovable  character,  neither  poet  nor  rough-neck,  just 
human.  You'll  like  him.  He  is  always  believable  as  the  news- 
paper reporter  who  won  a  lovely  wife  and  couldn't  keep  her, 
until  he  mended  his  ways  and  went  to  work.  The  wife,  both 
in  the  picture  and  private  life,  is  the  gorgeous  Claudette  Colbert. 
Real  newspaper  girls  will  cast  covetous  eyes  at  the  endless 
variety  of  Miss  Colbert's  very  smart  wardrobe  and  will  wonder 
how  she  did  it.  But  that's  movies.  Thanks  to  Monta  Bell's 
direction,  the  adventures  of  Ann  and  Toby  assume  an  interest 
out  of  all  proportion  to  the  very  juvenile  plot.  Charles  Ruggles 
as  the  family  friend  very,  very  funny — as  usual. 


for    July  1930 


85 


Best  Pictures 


Screenknd's  Critic  Selects 
The  Six  Most  Important 
Films  of  the  Month 


SEAL  OF,  J 


The  Man  from  Bknkley's 


YOU  won't  believe  it  until  you  see  it — John  Barrymore 
doing  a  comedy  drunk  act!  Yes,  John  forgets  all  about 
his  title  of  America's  Great  Tragic  Actor,  casts  discre- 
tion to  the  wings,  and  has  some  fun.  And  so  did  I; 
and  so  will  you.  How  much  more  I  like  this  Barrymore  than 
the  solemn  star  of  his  serious  plays  and  films  is  probably  an 
indication  of  my  low  tastes;  but  I  don't  care.  I  enjoyed  "The 
Man  from  Blankley's";  it  gave  me  a  good  time.  Mr.  Barry- 
more, playing  Lord  Strathpeffer,  wanders  around  in  a  London 
fog  and  into  the  wrong  dinner  party,  which  he  proceeds  to 
enliven  by  various  means.  A  collection  of  Dickensian  characters 
are  present,  perfectly  impersonated  by  some  of  the  best  actors 
in  Hollywood,  including  the  inimitable  Albert  Gran.  Barrymore's 
difficulties  with  a  rubber  pidgeon  make  a  scene  as  uproarious 
as  any  Sennett  ever  directed.  Loretta  Young  is  the  only  Holly- 
wood touch.  It  has  flavor,  this  film.  If  Barrymore  made  only 
comedies  from  now  on  I'd  write  him  fan  letters. 


Paramount  on  Parade 


PARDON  me  if  I  call  this  revue  The  Big  Parade  of  stars ; 
but  it  really  is.  Just  let  your  eyes  rest  on  this  list  of 
luminaries,  until  the  glitter  dazzles  you:  Chevalier, 
Clara  Bow,  George  Bancroft,  Jack  Oakie,  Nancy  Carroll, 
Helen  Kane,  William  Powell,  Give  Brook — I'm  out  of  breath 
though  not  out  of  stars.  But  you'll  have  to  see  "Paramount 
on  Parade"  to  meet  the  others.  It's  the  most  expensive  cast 
assembled — so  far.  As  in  all  screen  revues,  some  of  the  acts 
are  grand  and  some  are  not  so  good.  The  revue  begins  with 
Chevalier,  continues  with  Chevalier,  and  concludes  with 
Chevalier,  which  is  all  right  with  everybody.  Among  the  best 
numbers  are  the  Bancroft  sketch,  in  which  the  Powerful  George 
shows  off  his  toughest  technique;  Helen  Boopa-doop  Kane; 
little  Mitzi  Green's  impersonation  of  Moran,  of  Moran  and 
Mack;  Kay  Francis  as  Carmen;  and  Clara  Bow,  hurrah,  hurrah, 
as  the  pride  and  joy  of  the  U.  S.  Navy.  There's  something 
or  someone  in  "Paramount  on  Parade"  to  show  everybody  a 
good  time,  so  you'd  better  go. 


The  Divorcee 


DON'T  breathe  it  to  a  soul,  but  this  is  the  screen  version 
of  the  sensational  book  called  (ssh,  don't  let  Will 
Hays  hear  us!)  "Ex-W-f-e."  Fill  in  the  missing  letters 
and  you'll  have  it.  And  what  a  screen  version ! 
None  of  your  tame,  diluted  translations;  but  all  the  punch  of 
the  original,  plus  an  added  thrill  or  two,  and  no  extra  charge. 
Norma  Shearer  has  the  title  role — how  this  girl  has  changed. 
Her  screen  personality  has  undergone  what  is  known  as  a 
metamorphosis,  which  is  second  cousin  to  a  phenomenon  and 
only  slightly  less  interesting.  Miss  Shearer  has  developed  into 
an  American  Garbo;  she  is  a  worldly  young  lady  who  marries 
for  love,  gets  into  difficulties,  and  then  goes  about  living  her 
own  life  in  a  big  ambitious  way.  You'll  gasp  at  Norma's  por- 
trayal of  "The  Divorcee."  And  what  a  supporting  cast  of  bold, 
brave  young  men:  Chester  Morris  as  the  husband;  Conrad 
Nagel  as  the  long-suffering  friend;  and  Robert  Montgomery. 
Not  art;  but,  boys  and  girls,  what  box-office! 


Loretta  Young,  John  Barrymore,  and  Albert  Gran  in  the 
most  amusing  comedy,   "The  Man  from  Blankley's." 


Evelyn   Brent    and    Maurice    Chevalier    in    one    of  the 
sketches  from  the  revue,  "Paramount  on  Parade." 


'The  Divorcee,"  drama  of  modern  marriage,  stars  Norma 
Shearer,  with  Chester  Morris  as  her  leading  man. 


86  SCREENLAND 

Critical  Comment 


Free  and  Easy 

HERE  is  Buster  Keaton's  first  talking  comedy.  I  wish 
I  could  report  that  it  is  a  knockout,  because  I  have 
always  rated  Buster  as  one  of  the  leading  screen 
comics.  But  "Free  and  Easy,"  despite  its  elaborate 
mounting  and  lustrous  cast,  is  only  a  fairly  entertaining  film. 
To  begin  with,  the  addition  of  a  voice  detracts  from  the  Keaton 
pantomime,  this  frozen-faced  actor's  chief  talent.  Not  that 
Buster  is  a  vocal  flop ;  he  has  a  good  voice,  but  it  doesn't  fit 
in  with  the  character  he  has  built  up.  He  becomes  a  different 
Keaton  and  with  the  exception  of  some  hilarious  scenes  in 
which  he  has  an  opportunity  to  perform  acrobatically,  he  is 
hampered  by  the  new  technique.  Anita  Page  and  Robert  Mont- 
gomery are  the  lovers  of  the  piece,  with  Buster  doing  a  "Laugh 
Clown  Laugh"  for  the  finish.  A  Hollywood  setting  gives  glimpses 
of  several  other  stars,  including  William  Haines. 


Mammy 

THE  question  is,  how  much  do  you  like  Al  Jolson?  If 
you  are  a  rabid  Jolson  admirer,  don't  miss  "Mammy." 
On  the  other  hand,  if  you  are  onjy  Iuke-warm  about  Al, 
don't  expect  too  much  of  "Mammy."  It's  all  Jolson. 
I  know  that  all  Jolson  pictures  are  all  Jolson;  but  this  new 
one  is  even  more  so.  You  have  to  be  all  excited  about  him 
to  get  the  most  out  of  "Mammy."  The  best  of  the  scenes  show 
Al  as  a  minstrel  man,  with  his  famous  black-face.  Don't  worry 
too  much  about  the  Mammy  business;  there's  surprisingly  little 
sob  stuff  with  Jolson's  Alma  Mammy,  Louise  Dresser.  Of 
course  you  know  that,  being  a  Jolson  opus,  the  star  will  have 
to  be  arrested  for  a  crime  he  didn't  commit.  But  never  mind; 
there's  always  a  way  out.  Lois  Moran  is  the  girl  who's  wait- 
ing. Can  it  be  that  the  Jolson  charm  is  wearing  a  little  thin? 
Or  maybe  he  only  needs  snappier  songs. 


High  Society  Blues 

DID  you  like  "Sunnyside  Up?"  Then  don't  miss  its 
successor,  also  directed  by  David  Butler,  and  again 
starring  Charles  Farrell  and  Janet  Gaynor.  "High 
Society  Blues"  is  a  much  more  charming  film  than 
"Sunnyside  Up";  it  is  not  so  smarty,  just  as  funny,  and  the 
popular  stars  have  found  themselves  in  the  talkie  medium  so 
that  they  turn  in  perfectly  delightful  performances.  Miss  Gay- 
nor deserves  every  credit  for  being  able  to  make  the  jump  from 
her  wistful  characterizations  to  the  rollicking  zestful  musical 
comedy  type  of  thing  she  does  so  sweetly  here.  Farrell,  too, 
comes  through  nobly.  Their  voices  are  improving  all  the  time. 
The  story,  as  if  it  matters,  is  just  a  nice  little  romance,  but 
songs  and  comedy  situations  are  so  cleverly  interwoven  that 
"High  Society  Blues"  becomes  the  perfect  picture  for  the 
majority  of  fans.    For  the  whole  family. 


Captain  of  the  Guard 

THE  French  Revolution  is  fought  again  to  make  a  Uni- 
versal holiday.  John  Boles  profits  by  the  occasion  to 
establish  himself  even  more  securely  as  a  star  with  a 
voice  and  a  profile.  John  is  not  a  particularly  proficient 
actor  yet,  but  it  doesn't  seem  to  matter,  as  long  as  he  can 
warble  his  way  into  audience  favor.  He  plays  a  young  royalist 
who  is  won  over  to  the  revolutionists  and  writes  the  Marseillaise 
by  way  of  expressing  his  patriotism.  The  musical  score,  with 
strains  of  the  famous  French  anthem,  was  composed  for  this 
picture  by  Charles  Wakefield  Cadman.  Laura  La  Plante,  wear- 
ing a  black  wig,  does  the  best  she  can  with  the  role  of  The 
Torch,  a  flaming  leader  of  the  revolutionists.  Imagine  our  cud- 
dlesome,  dimpled  Laura  as  a  fire-brand!  Her  few  comedy 
moments  are  charming.  This  film  ran  two  weeks  at  the  Roxy 
Theater,  in  New  York,  so  that's  your  answer. 


for    July    2  9  3  0  87 

on    Current  Films 


Sweethearts  and  Wives 

I RECOMMEND  this  picture  as  an  amusing,  sophisticated 
story,  containing  an  element  of  naughtiness,  which  shouldn't 
be  missed!  The  fun  takes  place  outside  of  Paris  in  a 
spooky  inn.  It  contains  an  object  lesson.  If  you  go  motor- 
ing with  another  man's  wife,  you  may  wind  up  by  marrying 
Billie  Dove.  That's  what  happens  when  Sidney  Blackmer's 
motor  has  trouble  and  he  stops  at  the  inn  with  Leila  Hyams. 
Mysterious  events  occur  and  the  only  person  about  is  Billie 
Dove  as  a  French  maid,  language  and  everything!  The  police 
arrive,  and  to  avoid  a  scandal,  Billie  becomes  Blackmer's  wife, 
and  Leila  becomes  their  maid.  Clive  Brook,  as  a  private 
detective,  and  Albert  Gran,  as  an  inspector,  carry  on  an  in- 
vestigation and  a  murder  is  discovered.  Yes,  there  are  also  the 
missing  jools,  which  are  juggled  about  by  the  various  characters 
much   to    their   discomfiture — for   who   wants    to   be  arrested? 


Redemption 

DEEP,  dreary,  and  Russian.  John  Gilbert's  first  talking 
picture,  this  screening  of  the  Tolstoy  drama  was  held 
for  release  to  follow  "His  Glorious  Night."  John 
gets  no  better  break  in  this  than  he  did  in  the  talkie 
debut.  "Redemption"  is  a  trial  for  all.  It  is  old-fashioned. 
Unless  you  like  to  steep  yourself  in  Russian  gloom,  you  will 
probably  writhe  your  way  through  this  film.  Gilbert  plays  one 
of  those  mysterious  heroes  who  can't  seem  to  make  up  his  mind. 
A  sinister  fate  pursues  him,  for  no  special  reason.  He  just 
can't  be  happy.  And  he  tangles  up  a  few  lives  besides  his 
own,  including  Eleanor  Boardman's,  Conrad  Nagel's,  and  Renee 
Adoree's.  John  has  one  good  scene,  but  it  comes  at  the  end 
of  the  picture,  and  it's  a  long  wait.  Miss  Adoree  makes  the 
best  impression  with  her  piquant  beauty  and  rich  voice.  She 
will  be  a  big  hit  in  the  right  talker  role. 


Honey 

KNOW  a  secret!"  This  phrase  will  be  a  by-word  among 
families  when  "Honey"  has  been  seen  by  all.  The  event 
of  this  pleasant  little  musical  movie  is  Mitzi  Green, 
the  child  wonder,  who   plays,  with  admirable  honesty, 
one  of  those  obnoxious  children  who  spends  her  time  spying 
on  her  elders — and  sells  what  she  hears  to  the  highest  bidder. 
Whether  you  like  precocious  kid  performers  or  not,  you  must 
admit  that  Mitzi  is  the  greatest  child  star  since  Jackie  Coogan. 
She's  uncannily  clever.    Her  scenes  with  Jobyna  Howland  are 
really  funny;  and  keep  "Honey"  from  being  too  sweet,  what 
with  the  saccharine  romance  going  on  between  Nancy  Carrol 
and  Stanley  Smith,  who  have  to  sing  about  love;  and  the  lighter 
amour  of  Lillian  Roth  and  Skeet  Gallagher.    I  want  to  register 
approbation   of    Miss   Roth.     She   is   refreshingly   impish  and 
original.    Looks  like  star  material  to  me. 


Under  a  Texas  Moon 

PLEASE  see  this.  It  just  missed  being  one  of  the  six 
best.  The  first  all  Technicolor  western,  it  is  heartily 
recommended  by  way  of  light  and  snappy  diversion. 
And  it's  no  ordinary  western,  either.  It's  dressed-up 
and  pretty,  with  Frank  Fay  as  a  Mexican  Don  Juan  who  has  no 
trouble  at  all  attracting  the  ladies,  on  the  screen  or  in  the 
audience.  He's  the  same  Frank  Fay  who  was  master  of  cere- 
monies of  "The  Show  of  Shows"  but  you'd  never  know  it.  He 
is  much  more  at  ease,  and  may  shape  up  as  a  real  star.  He's 
a  sort  of  satirical  Barrymore,  who  says  it  with  songs.  Among 
his  conquests  are  such  charming  girls  as  Armida,  Raquel  Torres, 
and  Myrna  Loy — need  I  add  the  picture  is  extremely  decorative? 
Armida,  a  real  Mexican,  is  right  at  home  in  this  colorful  atmos- 
phere of  fun  and  fiestas.  But  it's  Frank  Fay's  picture;  he 
earns  it.    You'll  like  his  voice  and  smile. 


S3 


SCREENLAND 


REVUETTES  of 


Alias  French  Gertie 

Bebe  Daniels  and  Ben  Lyon,  most  famous  fiancees 
in  the  film  industry,  get  together  professionally  for 
the  first  time  in  this  amusing  little  picture.  You've 
guessed  it — it's  one  of  those  lady  and  gentleman 
bandit  things,  with  Bebe  a  lovely  lady  Raffles  who 
disguises  her  chic  self  as  a  French  maid  to  gain 
entrance  to  the  homes  of  the  rich,  which  she  pro- 
ceeds to  pilfer.  Ben  is  a  personable  Jimmy  Valen- 
tine; and  when  these  two  meet  young  love  gets  in 
its  work  and  the  crooks  decide  to  go  straight.  But 
before  complete  reformation  sets  in,  there  is  dramatic 
opportunity  for  Bebe  and  Ben  to  do  a  little  good 
acting  and  a  lot  of  good  looking.  They  make  a 
handsome  and  ingratiating  team ;  and  while  Bebe 
doesn't  sing  a  single  note  she  proves  that  as  a 
'straight'  actress  she  is  second  to  none;  and  the  boy 
friend,  Ben,  keeps  right  up  with  her. 


Isle  of  Escape 


Noah  Beery  and  Voice  provide  the  chief  interest.  The  big 
boy  has  a  deep  basso  that  makes  the  rafters  ring;  and  as  the 
bad  man  of  this  very  mellow  South  Sea  Island  drama  he  is 
convincing.  Not  so  much  can  be  said  for  Betty  Compson  as 
a  persecuted  heroine  and  Monte  Blue,  sadly  out  of  character. 


r  ramed 

Evelyn  Brent,  leading  'gangster's  girl'  of  the  shouting  cellu- 
loids, comes  back  to  her  popular  characterization  in  this. 
Evelyn  is  comely  and  convincing  as  the  night-club  hostess  whose 
'revenge'  is  thwarted  when  she  falls  in  love  with  the  Inspector's 
son,  played   agreeably  by   Regis   Toomey.     It  has   its  thrills. 


The  Hide-Out 

New  angle  on  the  hi-jacker  plot:  James  Murray  chooses 
college  as  his  hide-out,  and  is  turning  into  a  good  boy  with 
Kathryn  Crawford's  sweet  assistance  when  the  detective  runs 
him  down.  But  is  he  out?  See  the  picture;  it  isn't  bad. 
Kathryn  is  a  cutie  with  a  future  if  she  learns  to  act. 


Dames  Ahoy 


Hardly  high-brow,  but  you'll  be  amused  in  spite  of  yourself 
by  the  antics  of  Glenn  Tryon,  Otis  Harlan  and  Eddie  Gribbon 
as  three  gay  sea  dogs  looking  for  trouble.  They  find  plenty. 
Gertrude  Astor  as  the  femme  interest  serves  to  remind  us  that 
she  is  one  of  the  most  capable  comediennes  we  have. 


for    July    19  30 


89 


OTHER  PICTURES 


The  Benson  Murder  Case 

Return  engagement  of  those  two  popular  though 
so  different  detectives,  William  Philo  Vance  Powell, 
and  Eugene  Sergeant  Heath  Pallette.  This  time  the 
boys  are  out  to  solve  the  Benson  Case  which  in  case 
you  are  all  prepared  to  sneer:  "I  know  the  answer 
to  that  one,"  turns  out  to  be  like  the  S.  S.  Van 
Dine  book  in  name  only.  In  other  words,  "The 
Benson  Murder  Case"  of  the  movies  is  much  different 
from  the  novel  of  the  same  title.  It  has  a  brand 
new  murder,  list  of  suspects,  and  solution.  It's  a 
good,  fairly  baffling  detective  drama,  in  which  no  less 
than  six  persons  have  reasonable  motives  for  wishing 
to  murder  the  villain — including  the  blonde  Natalie 
Moorhead  and  the  pleasantly  sinister  William  Boyd — 
the  Broadway  Boyd,  not  Pathe's  Bill.  Leave  it  to 
Philo  to  ferret  out  the  clues  and  Sergeant  Heath  to 
furnish  the  laughs. 


He  Knew  Women 

Lowell  Sherman  is  the  star  of  this  satisfying  film  which, 
though  not  important,  holds  the  interest  throughout.  He  gives 
a  fine,  subtle  performance  as  a  man  of  affairs.  Alice  Joyce  is 
stunning  as  a  wealthy  widow;  while  Frances  Dade  and  David 
Manners,  both  attractive  new-comers,  look  promising. 


Cock  o'  the  Walk 


What's  the  matter  with  James  Cruze?  Hard  to  believe  that 
he  directed  this  pseudo-sophisticated  yarn  about  a  gigolo  violinist 
acted,  and  acted,  and  acted,  by  Joseph  Schildkraut.  Where's 
Cruze's  sense  of  humor?  Myrna  Loy  is  the  only  interesting 
feature;   she  is  charming  and  graceful,  worthy  of  better  parts. 


Guilty? 

Who's  guilty?  Not  Virginia  Valli.  The  only  thing  she  is 
ever  guilty  of  is  turning  in  a  nice  performance  and  you  can't 
hold  that  against  the  girl.  How  about  John  Holland?  You'll 
have  to  see  for  yourself.  It's  all  about  circumstantial  evidence; 
things  look  black,  but  clear  up  as  usual. 


In  the  Next  Room 

Here  is  a  mystery,  my  dears,  which  positively  makes  you 
dizzy.  Alice  Day  is  a  lady  in  distress  in  one  of  those  musty 
old  houses;  and  Jack  Mulhall,  the  reporter  out  to  solve  the 
mystery.  DeWitt  Jennings  is  Inspector  Grady,  who  eventually 
discovers  he  has  come  to  the  wrong  house  of  mystery. 


90 


SCREENLA^D 


Tuning  in  on 

Two  Weddings 
and  a  Birthday  Party 
—Come  Along! 


By 

Grace  Ki 


TNT 


Helene  Costello,  demurely  charming  in  bridal  array, 
and  her  new  husband,  Lowell  Sherman.  Helene  is 
one  of  Hollywood's  youngest  and  most  recent  brides. 


'EW  York  has  certainly  moved  to  Hollywood! 
Everybody  from  Broadway  is  here  tonight." 

Patsy,  the  Party  Hound,  and  I  had 
gone  with  Vernon  Rickard,  the  handsome 
young  stage  actor  and  radio  singer,  over  to  Joseph 
Cawthorn's  beautiful  new  home  in  Beverly  Hills,  where 
his  wife,  who  used  to  be  Queenie  Vassar  of  the  musical 
comedy  stage,  you  know,  was  giving  Joe  a  party  cele- 
brating his  birthday — and,  also,  his  fifty-seventh  year 
on  the  stage. 

Joe  Cawthorn  greeted  us,  and  then  we  saw  that  poor 
Queenie  had  met  with  an  accident.  She  was  sitting 
close  to  the  door  to  say  hello  to  everybody,  but  her  foot 
was  bound  up.  At  the  last  moment,  just  before  the 
first  guest  arrived,  Queenie  slipped  on  the  polished  floor 
and  sprained  her  ankle.  But  she  looked  lovely,  never- 
theless,  and  was  the  best  sport  we  had  ever  seen,  since 
she  stuck  to  her  hostess  post  until  we  missed  her  sud- 
denly, and  found  she  had  had  to  go  upstairs,  call  the 
doctor  and  have  the  foot  dressed,  after  which  she 
returned  gamely  to  her  party. 

John  Barrymore  was  one  of  the  first  guests  we 
caught  sight  of.  He  was  a  little  withdrawn  from  the 
crowd,  and  seemed  a  bit  nervous,  as  became,  we  de- 
cided, a  man  who  was  soon  to  become  a  dad.  Dolores 
Costello,  his  wife,  had  hoped  until  the  last  moment, 
to  come  to  the  party,  but  finally  was  dissuaded  by  her 
husband  from  doing  so.  (Since  this  was  written  John 
has  become  the  proud  papa  of  a  baby  girl.) 

Joe  and  Queenie  have  known  all  the  Barrymores 
since  the  latter  were  little  children,  and  Dolores  comes 
over  to  the  Cawthorns'  almost  every  day. 

Will  Kernell,  Mrs.  Cawthorn's  son,  and  Mrs. 
Kernell,  who  is  a  concert  pianist,  were  helping  in  re- 
ceiving, and  at  that,  Joe  didn't  need  much  help.  He 
was  the  liveliest  host  I've  ever  seen. 

Jack  Gilbert  was  there  with  his  lovely  wife,  Ina 
Claire;  and  there  were  James  Gleason  and  his  wife, 
Lucille  Webster,  Elsie  Janis  and  her  mother,  H.  B. 
Warner  and  his  wife;  Doris  Lloyd,  Henry  Hobart  and 
his  wife,  Olive  Tell,  Edmund  Lowe  and  Lilyan  Tash- 
man,  Robert  Edeson  and  his  wife,  Mr.  and  Mrs.  William 
De  Mille,  Leslie  Stewart,  whose  dad  wrote  "Florodora," 
Joseph  Santley,  Louise  Dresser  and  her  mother,  Mrs. 
Jack  Ford,  the  director's  beautiful  wife,  Mr.  and  Mrs. 
Lumsden  Hare,  Leon  Errol,  Hale  Hamilton  and  Grace 
LaRue,  Lowell  Sherman  and  Helene  Costello,  his  bride, 
Bert  Wheeler  and  his  wife,  Virginia  Harned  and 
William  Courtney,  Jack  Fife,   Charles  King,  Adele 


for    July    19  30 


91 


Hollywood   Wedding  Bells 


Rowland  and  Conway  Tearle,  her  husband,  Charles  Byers, 
Francie  Harris,  Jack  Blystone  and  his  wife,  James  Tingling 
and  Mrs.  Tingling,  Ralph  and  Vera  Lewis,  Mr.  and  Mrs. 
Edmund  Brecse,  Taylor  Holmes  and  his  wife  and  son, 
Phillips  Holmes,  Edmund  Goulding,  Bobby  Woolsey, 
Reginald  Sharland,  and  a  dozen  others. 

The  Cawthorns  have  brought  all  their  lovely  furnishings 
out  from  the  east,  and  the  result  is  that  the  place  seems 
to  have  been  lived  in  a  long  time.  Mrs.  Cawthorn  has 
a  gorgeous  collection  of  Dresdens,  which  she  has  scattered 
all  over  the  house — in  cabinets,  on  tables,  and  in  the  form 
of  chandeliers  and  perfume  cabinets. 

H.  B.  Warner  told  us,  when  we  told  him  how  ruddy 
and  healthy  he  was  looking,  that  he  had  been  gardening 
a  lot  lately,  and  how  he  loved  watching  a  garden  grow; 
but  said  that  he  had  moved  so  often  that  he  never  really 
had  a  chance  to  live  with  a  plant.         "  . 

Louise  Dresser  was  looking  perfectly  stunning  in  white 
satin.  She  told  us  that  she  was  looking  for  stories,  and 
was  awfully  tired  of  playing  sad  mothers;  she  said  that 
most  mothers,  according  to  her  experience,  were  quite 
happy,  and  if  they  had  troubles  they  kept  them  to  them- 
selves and  kept  a  stiff  upper  lip,  didn't  go  around  weeping 
all  the  time. 

Just  then  John  Barrymore  caught  sight  of  Hale  Hamil- 
ton. He  rushed  over  to  him,  and  was  so  delighted  to  see 
him  that  he  kissed  him  on  the  cheek! 

Jack  Barrymore  told  our  hostess  that  her  house  always 
seemed  like  home  to  him.  Mrs.  Kernell  told  us  that 
Dolores  is  just  as  happy  as  she  can  be  about  the  baby. 

Both  Mr.  and  Mrs.  Kernell  are  musicians,  Will  being 
a  composer  and  his  wife  a  concert  pianist.  Will  Kernell 
wrote  the  theme  song  for  John  McCormack's  picture, 
A  Pair  of  Blue  Eyes,  which  is  making  such  a  hit,  and 
Mrs.  Kernell  expects  to  play  at  the  Hollywood  Bowl 
next  summer. 

Elsie  Janis  and  her  mother  had  arrived  with  Jack  Fife; 
and  Elsie  denied  she  was  en- 
gaged to  marry  anybody. 

"And  if  Em  going  to  adopt 
a  child  to  marry,"  she  said, 
"anyway,  Ell  adopt  a  young 
one.  Somebody  said  I  was 
engaged  to  Jack  King,  but 
he's  much  too  old  for  me," 
she  kidded.  "He's  all  of 
twenty-six!" 

But  Jack  King  remarked 
gallantly  it  wasn't  his  fault 
he  wasn't  engaged  to  Elsie. 

Louise  Dresser  told  us  that 
Blanche  Ring  may  come  out 
this  summer,  as  her  husband, 


Joseph  Cawthorn  is  one  of 
the  hosts  of  Hollywood  who 
entertains  often  and  lavishly 
at  his  new  Beverly  Hills 
home.  This  picture  shows  a 
corner  of  the  living  room, 
with  Mrs.  Cawthorn,  Queenie 
Vassar,  of  musical  comedy 
fame,  giving  her  comedian 
husband  a  musical  treat. 


Charles  Winninger,  is  under  contract  to  Fox. 

Then  Louise  told  us  a  charming  little  story  about  a 
bracelet  she  wore. 

"Blanche  and  I  have  been  friends  for  years,"  she  said. 
"Long  years  ago,  when  we  were  together  in  a  show, 
Blanche  loaned  me  a  lovely  diamond  and  sapphire  bracelet, 
with  a  sort  of  understanding  that  I  was  to  wear  it  as  long 
as  I  liked.  Then  we  had  a  little  quarrel,  and  I  gave  her 
bracelet  back.  We  made  up,  and  I  thought  maybe  she'd 
hand  back  the  jewel,  but  she  never  did.  When  I  saw 
her  on  my  recent  trip  to  New  York,  we  were  having 
lunch  together  one  day  when  she  reached  into  her  bag, 
and  said,  'Louise,  here's  something  you  can  wear  the  rest 
of  your  life  if  you  will!'    And  out  came  the  old  bracelet." 

Ina  Claire  said  she  was  returning  to  New  York  for  a 
short  trip: 

"But  Em  not  leaving  anything — pictures  or  my  husband 
or  anything!"  she  laughed.  "I  just  want  to  do  a  little 
shopping.  Anyhow,  why  can't  I  do  a  little  of  every- 
thing?" she  laughed. 

Lilyan  Tashman  looked  wonderful  in  a  tight-fitting 
black  lace  gown,  and  Louise  Dresser  told  her  that  when- 
ever she  looked  at  her,  she  felt  she  should  go  upstairs 
and  fix  herself  up! 

"Oh,  no,"  said  Olive  Tell  to  Lilyan.  "You  make  me 
feel  as  if  it's  no  use  going  upstairs  to  fix  myself  up!" 

Olive  was  looking  lovely  herself;  and  Ina  Claire  was 
most  charming  in  a  figured  chiffon  with  flowing  skirt. 

Buffet  supper  was  announced,  and  Louise  Dresser  asked 
Will  Kernell  if  there  was  to  be  ice  cream. 

"No,  ice  cream  spills  all  over  everything!"  answered 
Will. 

"Oh,  well,  I  don't  care,"  said  Louise.  "Ice  cream  will 
look  all  right  on  white  satin!" 

Eddie  Lowe  told  us  about  working  on  the  Fox  Hills 
lot,  and  how  they  were  so  strict  that  they  had  cops  there 
for  the  traffic.  (Continued  on  page  110) 


92 


SCREENLAND 


The  lovely  Lillian  Gish  as  Helena  in  "Uncle  Vanya."  In 
this  play  by  Anton  Chekhov,  Miss  Gish  makes  her  first 
stage  appearance  since  she  was  a  child  actress. 


"Uncle  Vanya" 

CHEKHOV  was  the  surgeon  of  boredom.  Of  all  the 
Russians  he  is  the  most  implacable  in  his  outlook 
on  life.  His  characters  are  all  parts  of  the 
yawns  of  Brahma.  And  his  characters — and 
plays — are  life,  you  and  me,  universal  humanity;  our 
boredom  and  our  stupidities;  our  schemings  and  our  secret 
thievery;  our  cringing  cowardice,  and,  above  all,  our  rest- 
less inability.  Take  it  or  leave  it,  says  Chekhov  to  the 
world.  Well,  the  world  takes  it,  strange  to  relate!  Takes 
it  because  he  is  a  great  artist,  one  who  whispers  in  our 
ear,  "This  is  the  truth,  you  hypocrite!"  We  bow,  put 
our  hands  over  our  eyes,  and  murmur,  "Yes — Christ  have 
mercy  on  our  souls — it  is!" 

Jed  Harris1  production  of  "Uncle  Vanya"  is  one  of  the 
finest  things  ever  staged  in  New  York.  I  was  gripped  to 
my  seat  and  nailed  to  a  perpetual  attention  during  all  the 
four  acts.  And  it  is  such  a  nothing  of  a  story! — all  about 
two  men  who  love  a  woman  married  to  a  pompous  old  pro- 
fessor, the  failure  of  either  of  the  men  to  win  the  woman 
and  the  descent  of  a  slow  curtain  on  the  way  the  curtain 
of  Life  will  finally  descend  on  you  and  me:  tears  and 
ashes. 

It  all  takes  place  in  a  Russian  country  house  not  so  long 
ago.  But  it  might  be  anywhere  tomorrow.  The  characters 
are  sketched  with  a  masterhand,  the  dialogue  is  simple 
and  naked.  See  "Uncle  Vanya,"  the  product  of  an  artist, 
then  go  see  its  American  counterfeit,  "Hotel  Universe," 
and  you  will  understand  the  difference  between  Life  and 
Sophisticated  Sweetness,  beween  Art  and  Artifice. 


The 

Stage 

in 

Review 

New  Plays  on  Broadway 
that  you  may  see  later 
on  the  Talking  Screen 

By  Benjamin  De  Casseres 


Lillian  Gish  as  the  wife  of  the  pedantic  ass  of  a 
professor  was  all  compact  of  moonlight  and  aerial 
fugacity.    She  acted  simply  and  intelligently.  Walter 
Connelly  as  Uncle  Vanya,  an  elderly  sentimental 
lover,  was  superb  at  all  points;  and  Osgood  Perkins 
as   a   country   doctor,   also   in   love   with   the  married 
white  slave,  was,  again,  a  revelation.    Eugene  Powers  as 
the  professor,  a  happy  fool,  repeated  his  great  success  of 
"Children  of  Darkness."    In  fact,  everyone  was  exact  in 
a  most  difficult  play  and  a  red-letter  production. 

"A  Month  in  the  Country" 

I  am  glad  that  the  Theater  Guild  had  the  courage  to 
put  on  the  eighty-year-old  play  of  the  Great  Ivan  Turgenev 
called  "A  Month  in  the  Country."  Most  of  the  smart 
critics  pronounced  it  'old  fashioned;'  but  a  play  or  a  book 
may  be  old-fashioned  and  still  not  only  be  'up-to-date1  (a 
go-getter's  phrase),  but  even  'ahead  of  the  times.1 

Turgenev's  work  contains  eternals:  ennui,  disillusion, 
the  hob  that  libido  plays,  and  the  general  absolute  that 
life  is  just  an  empty  yawn  if  you  sit  down  and  think 
about  it. 

"A  Month  in  the  Country"  was  for  me  a  treat.  It  was 
the  Guild  at  the  peak  of  artistic,  anti-box-office  achieve- 
ment. I  drew  from  it  a  perfume  of  wilted  beauty,  of 
melancholy  inutility.  I  heard  the  eternal  sigh  of  regret 
that  wells  from  the  human  heart  and  got  some  profound 
peeps  at  our  meannesses  and  stupidities. 

The  story  is  simple — the  boredom  of  a  married  woman 
and  her  attempts  to  grab  at  the  skirts  of  Romantic  Love. 
There  is  always  disillusion,  and  the  play  ends  on  that  note. 
But  here  are  unforgettable  characters — living,  vital,  eternal 
— perfectly  interpreted  by  Alia  Nazimova,  Dudley  Digges, 
Henry  Travers,  Elliot  Cabot  and  others,  with  faultless 
directing  by  Rouben  Mamoulian. 


for    July    2  930 


93 


Left:  Eliot  Cabot,  Alia 
Nazimova,  Douglas  Dum- 
brille  and  Eda  H einemann 
play  unforgettable  charac- 
ters perfectly  interpreted 
in  "A  Month  in  the 
Country,"  the  Ivan 
Turgenev  play. 


Below:  Morris  Carnov- 
sky  in  "Hotel  Universe" 
with  Ruth  Gordon,  who 
carries  off  the  honors  of 
this  well  done  Theater 
Guild  presentation  of 
Philip  Barry's  new  play. 


Do  not  miss  this  beautiful  play  if  you  want  to  get  away 
from  the  Broadway  Hooligan  Nights. 

"The  Old  Rascal" 

Well,  the  old  rascal! — I  mean,  William  Hodge.  Since 
the  fall  of  Lucifer  there  has  been  no  greater  collapse  of 
a  Great  Ethical  Figure. 

For  William  Hodge,  you  know,  was  a  synonym  for 
Decency,  Propriety,  Sweetness  and  Light.  But  just  at 
the  moment  that  Fred  Stone  closed  up  in  his  first  failure, 
"Ripples,"  because  he,  too,  was  all  Immaculate  Sweetness 
and  Light,  Bill  Hodge  comes  to  town  with  a  naughty  play 
called  "The  Old  Rascal. " 

Here  Mr.  Hodge  of  Hearth,  Home  and  Mother  fame 
plays  a  rural  Casanova,  a  frisky  old  Judge  with  liquor 
in  his  cellar  and  some  cuties  on  his  string. 


David  Morris,  Ludisk  Windsor  and  William  Hodge  in 
"The  Old  Rascal,"  in  which  Mr.  Hodge  departs  from 
tradition  and  plays  a  rural  Casanova. 


Now  this  Sinful  Play  is  naturally  the  best 
thing  Mr.  Hodge  has  yet  done,  for  what  is 
more  natural,  more  tonifying,  more  amusing, 
more  jouncy-bouncy  than  good  old  Sin? 

But  what  will  Mr.  Hodge's  good  and  rev- 
erend disciples  say  when  "The  Old  Rascal"  hits 
the  sticks?    I  have  my  fears. 

Will  John  Golden,  the  Chevalier  of  the  Holy 
Grail,  fall,  too,  like  Lucifer  and  Bill  Hodge? 

"Hotel  Universe" 

Twinkle,  twinkle,  Philip  Barry — ■ 

How  I  wish  you  were  a  Jimmy  (Barrie) ! 

But  you  ain't,  ain't,  ain't! 

Yes,  twinkle,  that's  the  word — Philip  Barry 
in  his  plays  twinkles.  There  is  no  heat,  no 
warmth,  no  glowing  central  sun  of  an  idea  in 
his  work.    It  is  all       (Continued  on  page  115) 


94 


SCREENLAND 


Above:  Marlene  Dietrich,  sensa- 
tional European  discovery  imported 
by   Paramount.    Another  Garbo? 

Mary  Lewis,  right,  arrives  in  the 
Big  Town  to  fulfill  opera  engage- 
ments before  starting  screen  career. 


You  never  can  tell  about 
women! 
Those  words  are  not 
original  but  they're 
mighty  true.  That's  what  I  de- 
cided after  I  left  Laura  La 
Plante's  suite  at  the  Savoy 
Plaza.    Laura  is  here  in  town 

for  a  rest  and  a  vacation  after  finishing  up  her  Universal 
contract.  And  she's  having  a  vacation  like  no  other  screen 
star  I've  ever  heard  of. 

You'd  think  a  pretty  little  comedienne  like  Laura  would 
be  visiting  all  the  smart  shops  and  theaters  and  night 
clubs.  And  she  does  give  them  a  look-in.  But  her  real 
interest  is — you'd  never  guess  it — human  nature. 

The  first  place  she  went  when  she  reached  New  York 
was  to  Night  Court.  Then,  just  by  way  of  making  big 
whoopee,  she  visited  the  Police  College  and  the  museum, 
on  the  top  floor  of  this  building,  where  the  police  rookies 
get  initiated  into  the  ways  of  crime. 

"I  always  like  to  see  what  the  other  side  of  the  world 
is  doing,"  Miss  La  Plante  explained.  "I  have  no  sordid 
interest  in  crime.  I  just  realize  I'm  lucky,  but  I  want  to 
know  how  the  other  fellow  is  faring." 

Despite  the  fact  that  Laura  has  to  wear  a  large  pair 
of  tortoise-shell  specs  when  she  is  not  facing  the  cameras, 


they  don't  disfigure  her  at  all.  In  a  smart  new  tailored 
suit  and  a  little  turned-down  hat,  she  looked  very  pretty 
and  extremely  thin. 

Laura  is  none  of  your  cotton-headed,  flightly  girls,  but 
a  most  sensible,  well-balanced  woman.  And  no  matter 
with  what  film  company  she  allies  herself — and  she  has 
had  offers  from  several — I  feel  sure  she  will  bring  us  a 
lot  more  of  those  pleasant,  whimsical  light  comedy  imper- 
sonations which  have  made  her  one  of  our  best-loved  stars. 
*  *  * 

"What  a  woman!  What  a  woman!" 

Those  were  the  words  that  ran  up  and  down  and 
around  the  great  horseshoe  luncheon-table  at  the  Crystal 
Room  of  the  Ritz  a  few  weeks  ago  when  Paramount  in- 
troduced its  new  foreign  find  to  America — Miss  Marlene 
Dietrich,  the  German  film  star. 

Miss  Dietrich  is  beautiful.  She  looks  like  Garbo,  in 
height,  figure,  hair  and  eyes.    Only  her  nose  is  different.  , 


for    July    19  30 


95 


Stanley  Smith,  the  nice  new 
juvenile   with    the  voice. 


Anne  Bye 


Her  nostrils  have  a  broad  passionate  flare,  and  vibrate 
according  to  her  emotions  in  a  most  amazing  way. 

Die  Dietrich  speaks  English  well.  Jesse  Lasky  made  a 
smart  little  introductory  speech,  which  Miss  Dietrich  fol- 
lowed with  a  few  words,  in  clearly  enunciated  English, 
with  a  fascinating  little  twist  to  them. 

And  now,  just  a  word  about  that  luncheon.  It  was 
a  beautifully  arranged  affair,  with  spring  flowers  in  silver 
bowls  at  intervals  along  the  center  of  the  table  which 
must  have  seated  two  hundred.    The  food  was  epicurean. 

Stanley  Smith  was  one  of  the  guests  of  honor;  Jack 
Oakie  was  another,  and  Ginger  Rogers  a  third.  To  say 
nothing  of  the  important  officials  of  the  company;  Mr. 

Zukor,  Mr.  Lasky,  Mr.  Wanger,  Mr.  McCarthy  and  others. 

*  *  * 

I  haven't  met  a  lot  of  screen  comedians,  but  of  those 
I  have  had  the  good  fortune  to  know,  I  believe  Jack  Oakie 
is  my  favorite — for  he's  so  darned  natural. 


Above:  lovely  little  Laura  La 
Plante  was  in  Manhattan  on  her 
first  real  vacation  in  a  long  time. 

Marilyn  Miller  waves  farewell  to 
New  York  as  she  leaves  to  make 
another  picture  in  Filtnafornia. 


He  doesn't  put  on  any  airs. 

He  doesn't  drag  out  any  fancy 

accent   or   inflections   for  his 

New  York  visit.     He's  just  a 

plain  boy  from  the  country  who 

happens  to  get  along  because 

he  has  made  a  unique  hit  in 

the    movies,    since    men  and 

women  alike  both  fall  for  his  foolishness. 

The  day  I  had  lunch  with  Jack  in  his  suite  at  the 

Warwick  Hotel,  he  was  feeling  a  little  low.    It  seems  a 

bunch  of  the  New  York  newspaper  folk  had  been  whooping 

it  up  and  showing  him  the  town.    He  had  gone  to  the 

theater  with  them,  then  to  a  party  at  Stuart  Erwin's — 

whom  everybody  calls  'Stew,'  by  the  way,  but  for  no 

ulterior  reason — and  lastly,  nearly  every  night  club  in  New 

York  was  visited.    Jack  arrived  home  with  the  milk  man 

and  the  l^[ew  Tor\  Times. 

He  was  still  a  little  sleepy  at  lunch  time,  but  after  bacon 

and  eggs,  he  picked  up  considerably.    "It's  a  swell  break, 

bein'  a  screen  star,"  Oakie  said,  "but  I  sure  would  like 

to  get  back  to  California  and  a  little  honest-to-God  sleep. 

If  last  night  is  a  sample  of  what  New  York  is,  I'm  gonna 

be  pullin'  my  freight  west — any  day  now." 

*  *  * 

Just  a  high  school  boy  who      (Continued  on  page  126) 


96 


"In  preparing  any  dish,"  says  Billie  Dove,  "here  is 
the  first  rule:  be  sure  that  your  measurements  are 
right  and   that   the   ingredients   are   well  blended." 


Good  cooks  and  charming  hostesses  are  born,  not 
made.  Just  as  teachers  and  actors  must  have 
a  natural  bent  toward  their  line  of  work  in  order 
to  be  proficient,  an  exceptional  cook  has  to  have 

talent. 

Take  Billie  Dove,  for  instance.  She  has  always  liked 
to  cook.  Even  before  she  started  to  school,  she  watched 
her  mother  making  good  things  to  eat  and  tried  to  copy 
her. 

"One  of  the  proudest  days  of  my  life,"  she  tells,  "was 
one  Sunday  that  I  successfully  made  a  plate  of  fudge. 
We  had  guests  and  they  praised  it  generously.  I  walked 
on  air  for  the  next  week. 

"Mother  encouraged  me.  As  long  as  I  had  a  natural 
tendency  toward  cooking,  she  felt  it  should  be  helped  along. 
She  is  a  wonderful  cook.  Nothing  is  too  difficult  for  her. 
And  she  gave  me  the  benefit  of  her  long  years  of  ex' 
perience. 

"I  cooked  and  baked  those  easy  things  most  children 
do,  muffins,  fudge,  cookies,  and  simple  desserts.  I  didn't 
tackle  meats  or  heavy  food  then.  By  the  time  I  went 
to  school  and  progressed  far  enough  to  take  cooking  les' 
sons,  I  was  a  bit  ahead  of  the  others. 

"The  things  that  I  learned  to  make  in  school  had  to 
be  tried  at  home.  And  mother  was  so  nice  about  my 
coming  into  the  kitchen  and  trying  out  new  concoctions. 
She  was  always  willing  to  take  time  to  see  and  help  me 
measure  out  the  ingredients.  That  was  one  of  the  simple 
rules  she  installed  in  my  mind:  'Be  careful  about  the 
proper  amount  of  each  thing.'  " 

Now  that  Billie  is  a  big  star  and  spends  so  much  of 
her  time  at  the  studio,  a  cook  takes  her  place  in  the  kitchen. 
However,  the  mistress  of  the  house  always  supervises  the 
menu. 

"I  will  go  for  a  long  time  without  cooking  anything," 
Billie  says,  "then  I'll  have  an  urge  to  cook,  and  go  out 
into  the  kitchen  and  tackle  anything  in  the  cook  book 


SCREENLAND 


o  m  e 


A  Cooking  Lesson 
from  a  Lovely  Teacher 

By  Emily  Kirk 

that  appeals  to  me.  I  have  fun  doing  that.  But  I  can't 
always  guarantee  the  results. 

"If  you  don't  like  sports,  it  is  impossible  to  excel  in 
them.  The  same  thing  goes  for  household  duties,"  she 
explains.    "Personally,  I  like  them.    I  like  to  supervise 


Next,  be  sure  that  the  gas  or  electricity  is  adjusted 
just   right.     Foods   prepared   on    top  of   the  stove 
require  a  low  or  medium  degree  of  heat. 


the  managing  of  my  household.  To  make  out  the  menu 
for  the  next  day.  Even  to  shop  when  I'm  between  pictures 
and  have  time. 

"Flavoring  is  one  of  the  most  important  items  in  cooking. 
A  perfect  roast  can  be  spoiled  or  a  medium  type  of  meat 
made  delicious  just  by  the  seasoning.  I  do  not  like  or 
have  highly  flavored  dishes  on  my  menu,  but  I  do  like 
sauces  and  relishes. 

"The  menu  is  another  important  item.  I  believe  that 
a  well-regulated  diet  is  the  prime  requisite  of  good  health. 
I  usually  eat  a  good  breakfast  and  a  simple  luncheon  of 
a  salad  or  soup.    My  heaviest  meal  is  in  the  evening. 

Miss  Dove  does  not  entertain  much  during  the  making 


for    July    1  930  97 

into  the  Kitchen 
wt  th  Billie  D  ove 


BILLIE  DOVE'S 
FAVORITE  RECIPE: 

Clam  Chowder 

Cut  one-half  pound  salt  pork  into  small  pieces  and  fry.  Let 
all  the  fat  fry  out,  but  do  not  allow  the  pork  to  brown.  Remove 
pork  and  part  of  the  fat  and  add  to  remaining  fat  three  medium- 
sized  onions  sliced  quite  thin.  The  onions  should  be  cooked 
until  tender  but  not  browned.  Place  pork  and  onions  in  a 
large  pot  and  add  four  good-sized  potatoes  cut  in  dice  and  the 
juice  from  three  cans  of  clams.  Cover  and  cook  slowly  until 
potatoes  are  well  done.  Just  before  serving,  add  one  quart  of 
hot  milk,  cream  and  all,  with  salt  and  pepper  to  taste. 


"TP 


Flavoring  is  one  of  the  most  important  items  in 
cooking,  admonishes  Billie.  A  dish  may  be  spoiled 
or  made  a  complete  success  just  by  its  seasoning. 

of  her  pictures.  But  if  she  does  have  guests,  she  is  never 
too  busy  to  supervise  the  menu  personally.  When  she 
gives  large  dinner  parties,  she  does  some  of  the  shopping 
for  the  more  important  items,  and  sees  to  the  placing  of 
the  guests  at  the  table  herself. 

"Seating  people  at  a  table  to  ensure  a  smooth  and 
pleasant  meal  is  an  art  in  itself.  It  needs  a  nice  sense  of 
diplomacy  as  well  as  an  insight  into  the  personality  and 


interests  of  the  guests  themselves.  It  is  a  problem  any 
where,  but  in  Washington,  D.  C.  and  Hollywood  it  is 
twice  as  bad. 

'"In  Washington,  it  is  rank  and  precedence.  In  Holly- 
wood, it  is  the  problem  of  not  sitting  ex-wife  next  to 
another  ex-wife  or  a  present  one.  A  hostess  has  to  remem- 
ber who  is  speaking  to  whom,  and  who  has  just  finished 
playing  opposite  what  star.  In  the  latter  case,  it  is  further 
complicated  by  having  to  remember  whether  the  parties 
are  still  on  good  terms  or  not. 

"When  the  'ex's1  have  been  separated,  it  is  time  to 
think  of  parallel  tastes  and  interests.  This  is  easier  in 
Hollywood.  Talking  pictures,  or  even  pictures  them- 
selves, form  the  basis  of  all  topics  of  conversation.  Almost 
everyone  is  interested  in  some  form  of  them. 

"Of  course,  every  hostess  knows  that  she  must  'man- 
age" her  guests  if  she  wants  to  keep  them  well-entertained. 
When  I  entertain,  I  spend  as  much  time  choosing  guests 
who  will  be  congenial  as  I  do  in  planning  the  menu.  In 
a  week  or  two,  one  generally  forgets  just  what  food  was 
eaten  at  a  certain  dinner,  but  if  the  guests  were  congenial 
and  happy  together — that  memory  will  linger  and  be 
always  associated  with  the  (Continued  on  page  126) 


The  dish  is  now  nearing  completion.    Time  now  to 
taste  and  see  if  it's  all  right,  and  to  add  a  'little  of 
this  or  a  little  more  of  that'  if  necessary. 


98 


from  1 

WOLLYWOOD 


All  the  Latest  News 
from  the  Studios 


Polly  Moran  can  always  get  away  with  murder.    Looking  over  the 
"Madame  Satan"  set  with  Cecil  B.  De  Mille  at  the  megaphone  on 
a  day  when  there  was  a  lot  doing,  Polly  took  stock  of  the  dozen  or 
more  assistants,  who  are  supposed  to  be  'yes'meiV  hanging  on  the 
last  minute  admonitions  of  the  famous  director,  and  remarked  with  a  twinkle 

in  her  eye:  "This  set  ought  to  be  called  the  Land  of  Nod." 

*  *  * 

All  Hollywood  beamed  when  Dolores  Blythe  Barrymore,  Junior,  was  born. 
They  say  father  Jack  is  so  transported  with  joy  that  nothing  else  in  the 
world  seems  at  all  important  to  him. 

"The  Sea  Beast"  has  twice  brought  happiness  to  John  Barrymore.  It  was 
while  filming  the  silent  version  of  this  picture  that  he  and  Dolores  Costello 
Barrymore  fell  in  love;  and  now,  while  filming  the  talking  version  of  the 
piece,  his  daughter  is  born. 

*  *  # 

And  while  we  are  on  the  subject  of  the  stork,  it  is  whispered  about  pretty 
definitely  now  that  Norma  Shearer  is  looking  forward  to  the  rustle  of  its 
wings.  No  one  seems  to  know  just  when  it  will  be  but  probably  in  the 
early  fall.  Norma  is  just  finishing  her  picture  "Let  Us  Be  Gay,"  which  is 
said  to  be  very  gay  indeed.  She  plans  to  take  several  months'  vacation  when 
it  is  completed,  and  will  probably  go  to  Europe  with  her  husband,  Irving 
Thalberg. 

%  *  * 

Norman  Hall,  novelist  magazine  writer  and  journalist,  recently  come  to 
Hollywood,  has  been  signed  by  Fox  and  is  working  on  Victor  McLaglen's 
next  opus,  "Dust  and  Sun,"  a  story  with  the  South  American  tropics  for  a 
locale.  Norm  has  spent  years  in  the  South  Seas  and  South  America  and 
his  knowledge  of  those  countries  clinched  the  assignment  for  collaboration 
on  the  story,  it  is  said.    In  Norm's  journalistic  experiences  he  has  witnessed 


SCREENLAND 


What  was  it  about 
the  shot  that  was 
heard  'round  the 
world?  Well,  any- 
way, when  Claudia 
Dell  sets  off  these 
fireworks  we'll 
probably  hear  them 
all  the  way  from 
Hollywood. 


for    July    19  30 


99 


twenty-one  hangings  and  one  death  by  guillotine  in  the 
south  of  France.  His  story,  "Billy,  the  Balloon  Buster 
of  Arizona,"  has  been  purchased  by  TiffanyStahl  and 
Rex  Lease  will  be  featured  in  the  picture. 

Bill  Haines  and  Polly  Moran  are  honestly  embarrassed 
that  their  joke  has  been  taken  seriously  by  the  public.  It 
began  at  a  time  when  a  new  engagement  almost  every  day 
was  announced  in  Hollywood.  Everyone  was  discussing 
the  latest  on  the  set  one  day  when  Bill  said,  '"Come  on, 
Polly,  let's  you  and  me  become  engaged  and  cut  in  on 
some  of  this  free  publicity!"  No  one  loves  a  joke  better 
than  Polly  so  they  both  acted  up  for  the  amusement  of 
their  friends.  Then  it  got  into  the  papers,  and  now,  be- 
cause the  'engagement'  has  gone  on  for  so  long  they  are 
both  getting  letters  from  their  fans  asking  in  all  serious- 
ness, apparently,  when  they  are  going  to  get  sliced. 

Both  Bill  and  Polly  would  like  everyone  to  understand 
that  it  was  all  a  joke  and  that  they  haven't  and  never 
have  had  the  slightest  intention  of  getting  married. 

-.[: 

A  letter  from  New  Mexico  tells  us  that  the  "Easy 
Going"  company,  with  Fred  Niblo  at  the  megaphone  and 
Bill  Haines  as  the  star,  are  enjoying  life  from  the  comfort 
of  a  club  car  on  the  edge  of  The  Enchanted  Mesa,  one 
of  the  most  beautiful  spots  in  the  state.  On  the  day  the 
company  was  scheduled  to  shoot  the  Acoma  pueblo  they 
arrived  all  pepped  up  for  work  only  to  find  that  an  Indian 
funeral  was  in  progress  which  would  last  through  the 
afternoon  and  evening.  The  only  thing  for  Mr.  Niblo 
to  do  was  to  turn  his  company  back  to  the  club  car  for  the 
day.  The  rites  of  an  Indian  funeral  are  secret  and  no 
white  man  has  ever  witnessed  them,  it  is  said. 

J.  Warner  Bellah,  the  writer,  was  being  introduced  to 
the  Come  On  Inn  recently  for  lunch.  The  Come  On  Inn 
is  presided  over  by  Betty  and  Hatty  and  has  fed  almost 
everyone  in  filmland  at  one  time  or  another  during  the 
past  ten  years.  A  man  in  the  uniform  of  a  French  aviator 
walked  in  and  Jay  was  surprised,  being  new  to  Holly- 
wood, to  see  that  he  had  make-up  on.  Jay  is  a  flier  and 
always  interested  in  anything  to  do  with  the  air,  so  when 
he  was  told  the  actor  came  from  the  Warner  lot  he  asked 
his  friend  Norman  Hall  that  evening  what  picture  they 
were  doing  over  there  that  included  a  French  aviator. 


Now  that  Lon  Chaney  has  decided  to  make  talkies 
he's  having  a  grand  time  doing  his  ventriloquist's 
tricks  again  in  the  same  role  he  played  in  the  silent 
version  of  "The  Unholy  Three." 


"Oh,"  replied  Norm  with  a  grin,  "they're  making  'Mrs. 
Wiggs  of  the  Cabbage  Patch!'  " 


Two  noted  apostles  of  cleanliness.  Cecil  De  Mille,  famous  for  the  bathtubs 
of  his  pictures,  with  C.  L.  Frederick,   Heft  center),  sales  manager  for 
Colgate-Palmolive-Peet  Corporation.    Right:    Mrs.  Frederick.    Left,  Don 
Francisco,  vice-president  of  Lord  &  Thomas  and  Lozan. 


If  anyone  is  suffering  from  the  blues, 
he  or  she  ought  to  go  and  see  Sylvia 
Ulbeck,  the  Swedish  masseuse  retained 
by  Pathe  to  keep  the  stars  beautiful. 
Two  words  from  Sylvia  in  her  adorable 
accent  and  the  blues  fade  into  hysteri- 
cal shrieks.  "The  Merry  Inquisition," 
the  girls  call  her  rooms,  for  in  spite 
of  her  jokes  and  amusing  patter,  Sylvia 
treats  her  victims  rough.  To  drown 
their  cries  of  agony  under  her  firm 
fingers  she  blithely  turns  on  the  radio. 
"Now,  mother's  darling,"  Sylvia 
laughs;  and  wham!  wham!  wham!  her 
hands  come  down  on  the  sluggish 
flesh  of  your  writhing  body.  "It 
doesn't  belong  to  you,  anyway — off  it 
comes.  Nothing  but  a  lot  of  unused 
substance  that  shows  you  haven't  prop- 
erly assimilated  the  food  you  have 
been  eating."  Wham!  V/ham!  V/ham! 
But  after  it  is  all  over  they  say  you 
feel  like  a  million  dollars  and  Sylvia 
hands  you  a  steaming  cup  of  coffee 


100 


SCREENLAND 


Left:  Zelma  O'Neal  and  Jack 
Haley  in  the  singing-talking 
version  of  the  musical  success 
"Follow  Thru."  Zelma  and 
Jack  play  the  roles  they  created 
on  the  stage. 


Below:  Shooting  the  scene 
from  "Abraham  Lincoln"  which 
Screenland  chose  as  The  Most 
Beautiful  Still  of  the  Month. 
D.  W.  Griffith,  seated,  left,  is 
directing  Walter  Huston  and 
Una  Merkel. 


and  two  graham  wafers.  "No  cream 
and  only  one  lump  of  sugar,  sweetheart. 
You  may  hold  it  in  your  mouth  if  you 
like  and  let  the  coffee  dissolve  it  as  you 
drink.  That's  a  Swedish  custom.  Greta 
Garbo  drinks  her  coffee  like  that." 

Sylvia  has  caused  more  jealousy  than  any  star  in  Holly 
wood.  So  popular  has  she  become  that  Pathe  has  been 
induced  to  allow  players  outside  their  gates  benefit  from 
the  magic  of  Sylvia's  hands.  Grace  Moore,  the  Metro- 
politan opera  diva  recently  signed  by  M-G-M,  is  the 
latest  of  her  admirers. 

"Heaven  knows  I  thought  I'd  never  see  her  again," 
laughed  Sylvia.  "How  I  pounded  her!  She  is  not  much 
overweight  but  what  there  is  must  come  off  for  the  screen. 
She  asked  me  whether  her  chauffeur  could  drive  into  the 
studio  grounds  for  her!"  Sylvia  has  heard  that  before. 
"Shall  I  send  for  an  ambulance,  darling?  Our  hospital  is 
just  at  the  end  of  this  building."  But  Grace  was  too  sore 
and  stiff  to  joke  about  it. 

The  next  thing  Sylvia  knew,  she  was  the  center  of  a 
studio  row!  Metro  wanted  her  exclusive  services  and 
planned  to  offer  her  a  contract,  it  is  said,  to  take  effect 
at  the  expiration  of  her  Pathe  contract.  Pathe  and  Gloria 
Swanson,  who  has  been  her  patient  for  years,  heard  of  it 
before  Sylvia  did  and  were  furious. 

Louis  B.  Mayer  sent  for  Sylvia,  which  didn't  mean  a 
thing  to  her.  She  takes  the  kinks  and  quirks  out  of  the 
spines  of  so  many  men  executives  that  when  she  was 
asked  to  see  Mr.  Mayer  she  thought  no  more  of  the 
appointment  than  that  Mr.  Mayer  wanted  to  add  himself 
to  her  list  of  patients.  "Darling,  I  had  my  hat  on  and 
was  just  cursing  the  holey  gloves  I  had  worn  that  morning 
when  in  walks  Mr.  Kennedy  and  balls  me  out.  I  am  so 
surprised  I  can  hardly  swear  at  him.  We  have  it  hot 
and  heavy  but  when  I  find  out  what  it  is  he  is  trying 
to  say  to  me  I  take  off  my  hat  and  my  holey  gloves  and  get 
myself  back  into  my  apron,  for  goodness  sake!"  Sylvia 
is  a.  loyal  little  soul  and  as  long  as  Pathe  treats  her  right 
she  stays  on  the  lot  no  matter  how  many  tempting  offers 

come  her  way,  and  plenty  do. 

*  *  * 

Gloria  was  all  for  having  Sylvia  appear  in  her  picture, 
"What  a  Widow,"  but  Sylvia  flatly  refused.    It  was  to  be 


a  comedy  scene  and  she  takes  her  profession  too  seriously  to 

make  a  slapstick  out  of  her  work. 

*  *  * 

Lon  Chaney  is  in  the  midst  of  filming  his  first  talking 
picture,  "The  Unholy  Three,"  and  having  the  time  of  his 
life.  He  was  all  dressed  up  as  the  old  woman  who  takes 
care  of  the  bird  store,  which  is  just  a  disguise  he  wears 
to  fool  the  police.    Trust  Lon  for  a  novel  idea.    He  plays 


Clara  Bow,  filmdom's  favorite  flapper,  entirely  sur- 
rounded by  Navy.  At  her  left  and  continuing  'round 
the  circle  are  Frederic  March,  Harry  Sweet,  Rex  Bell, 
Eddie  Fetherston,  Charles  Sullivan  and  Eddie  Dunn. 


for    July  1930 


101 


Below:  Cecil  B.  De  Mille  se- 
lecting candidates  for  the  danc- 
ing chorus  of  "Madame  Satan," 
his  comedy  with  music.  It's  all 
in  the  day's  work  for  director 
De  Mille. 


Right:  Mervyn  Le  Roy,  who  is 
directing  "Top  Speed,"  takes 
time  off  to  rehearse  pretty 
Laura  Lee  for  the  leading  role. 
Laura  is  the  latest  singing  find. 


a  ventriloquist  but  I  won't  spoil  the  scene  by  telling  you 
what  he  does.  Lon  is  never  upstage  about  having  visitors 
on  the  set.  Some  stars  freeze  up  and  can't  act  when 
strangers  are  there,  but  the  more  the  merrier  for  Lon.  He 
loves  a  crowd. 

Lila  Lee  is  playing  his  leading  lady  and  very  proud 
to  be  in  the  first  Chaney  talkie,  she  told  me.  Incidentally, 
we  think  Lon  is  fortunate  in  having  a  leading  lady  as 


charming  and  as  good  a  trouper  as 
little  Lila. 

As  Lenore  Ulric  waved  good  bye  to 
friends  after  boarding  the  Chief  she 
said,  "Well,  Fm  going  to  New  York 
and  Sidney  is  going  on  location."  The  Blackmers  will 
be  separated  for  a  time.  Sidney  Blackmer,  her  husband, 
has  become  very  popular  out  here  and  First  National 
keeps  him  busy.  Films  were  not  as  kind  to  his  wife,  the 
beautiful  and  exotic  Lenore.  She  felt  she  was  miscast  in 
her  pictures  for  Fox  and  the  whole  experience  disheart- 
ened her.  But  that  doesn't  make  Broadway  mad!  The 
Big  Street  has  missed  Lenore  and  will  welcome  her  back. 


Representing  a  famous  family  that  have  preserved 
throughout  three  generations  the  finest  traditions  of 
the  American  stage.  The  late  Georgie  Drew  Barry- 
more  and  her  three  children,  Ethel,  Lionel,  and  John. 


George  Duryea  has  been  a  stage  door  Johnnie  lately. 
Cherchez  la  femme.  But  in  this  case,  everything  is  all  right 
because  the  girl  he  waits  so  patiently  for  is  Mrs.  Duryea. 
George  is  playing  the  lead  in  "Night  Work"  for  Pathe, 
and  giving  his  makeup  a  hasty  swipe  dashes  from  Culver 
City  to  the  El  Capitan  in  Hollywood  where  Grace  Staf' 
ford,  his  wife,  is  appearing  in  the  stage  play,  "Broken 
Dishes." 

*  *  * 

We  saw  Ken  Maynard  at  Palm  Springs  looking  very 
dashing  in  form-fitting  white  ducks  of  almost  military  cut. 
Ken  just  bought  four  lots  opposite  the  El  Mirador  Hotel 
where  he  is  planning  to  build  a  very  modern  talking  pic- 
ture theater.  It  should  be  a  good  investment  for,  while 
there  is  a  'hall'  with  stage  and  motion  picture  equipment, 
it  is  not  rigged  up  for  sound  and  there  are  no  regular 
shows. 

%  -\'  * 

Eddie  Cantor  is  so  pleased  with  California  that  he  says 
he  is  going  to  remain  here  even  if  it  has  to  be  as  a  waiter 
in  a  restaurant.  He  settled  Mrs.  Cantor  and  the  five 
daughters  in  a  beach  home  at  Malibu  and  then  plunged 
into  "Whoopee,"  the  Sam  Goldwyn-Florenz;  Zeigfeld 
offering  just  starting  production. 

$  %  $ 

Rosetta  and  Vivian  Duncan  had  one  of  their  old-time 
parties  at  Rosetta's  Santa  Monica  beach  home.  Most  of 
the  guests  had  played  with  them  in  "Topsy  and  Eva"  at 


102 


SCREENLAND 


one  time  or  another  and  Rosetta  called  the  gathering  'old 
home  week.' 

Mary  Lewis,  who  is  an  old  friend,  was  there,  too,  and 
tried  out  several  songs  she  is  thinking  of  for  her  first  pic' 
ture  for  Pathe.  Philip  Ryder,  who  played  almost  every 
male  part  in  "Topsy  and  Eva"  and  who  for  the  last  three 
or  four  years  has  been  playing  the  Shei\  in  "The  Desert 
Song,"  sang  two  songs.  And  although  Vivian  tried  to 
beg  off  because  she  had  just  had  an  operation  on  her  throat 
she  wasn't  allowed  to  be  an  invalid  and  the  girls  did  their 
bit.  If  Rosetta  ever  did  'Cause  I  gotta  cold  in  my  nose 
for  the  screen  she  would  bring  down  the  house. 

Harry  Langdon  and  his  bride  were  there,  too,  very 
devoted.  Rosetta,  who  always  dresses  for  comfort,  had 
on  a  pair  of  white  ducks  and  a  sweat  shirt  with  all  kinds 
of  slogans  scrawled  on  it  in  ink.  Vivian  looked  very 
lovely  in  a  pair  of  turquoise  blue  and  white  silk  beach 
pajamas. 

sfc  %  sfc 

Paul  Whiteman  gave  a  swell  party  after  the  preview  of 
"The  King  of  Jaw."  Just  wait  till  you  see  that  show! 
Paul  took  over  the  mezzanine  party  room  at  the  Roosevelt 
Hotel  and  had  it  decorated  especially  for  the  occasion  to 
resemble  a  cellar.  There  was  a  long  table  on  one  side 
where  all  kinds  of  tempting  food  was  served,  and  a  bar 
at  the  end  where  steins  of  near  beer  were  handed  out  and 
you  made  believe  the  old  days  had  returned.  Paul  went 
prancing  about  in  a  funny  little  sailor's  hat  far  too  small 
for  his  head. 

Helen  Twelvetrees  told  everyone  how  much  she  liked 
the  Pathe  studio.  Pathe  likes  Helen,  too,  in  fact  they 
think  she's  swell.  She  has  just  finished  "Swing  High" 
and  is  preparing  for  her  next  though  no  one  knows  just 
what  it  will  be. 

Sue  Carol  and  Nick  came  late.    Sue  looked  very  lovely 

in  a  pink  lace  gown  and  carried  an  ivory  colored  silk 

shawl  with  fringe  so  long  that  one  wondered  how  she 

ever  kept  from  breaking  her  neck  in  it.    Sue  is  moving 

over  to  the  RKO  lot,  the  first  picture  she  has  made  not 

under  the  Fox  banner  in  two  years,  but  Sue  didn't  think 

she  was  getting  very  good  breaks  there. 

❖  ❖  & 

Perhaps  the  most  important  event  in  Hollywood  this 
month  is  the  arrival  of  the  Broadway  producer,  Florenz 
Ziegfeld,  who  came  with  his  wife,  Billie  Burke,  and 
their  daughter,  Patricia,  to  collaborate  with  Sam 
Goldwyn  on  the  production  of  "Whoopee."  Someone 
asked  Mr.  Ziegfeld  about  three  hours  after  he  arrived 
whether  he  expected  to  remain.  He  was  much  amused 
by  the  question  and  said,  "Well,  I  expect  to.  You 
know  I'm  a  pretty  tough  guy." 


Larry  Ceballos,  dance  instructor,  rehearses  the  Sisters 
G,  European  dancers,  for  their  roles  in  "Mile. 
Modiste."  The  sisters  have  crashed  the  movies  as 
spectacularly   as    they   did   the    Continental  stages. 


Mr.  Ziegfeld  declared  he  wasn't  going  to  try  to  teach 
the  boys  out  here  a  thing.  He  just  wants  to  look  around 
and  do  a  little  learning  himself.  But  he  thinks  there  is 
one  thing  the  picture  producer  will  have  to  learn  just  as 
the  stage  producer  had  to  learn  it,  and  that  is,  you  can't 
give  an  order  for  creative  work  and  expect  to  have  it 
finished  in  twentyfour  hours. 

"These  producers  give  a  composer  a  piano,  a  pad  and 


Above:  Pete  Barnard,  a  muck  photographed  man 
though  never  seen  on  the  screen,  holding  the  talkie 
marker  whose  wooden  blocks  label  the  film  for 
synchronization.  Regis  Toomey  and  Evelyn  Brent 
are  the  actors. 

Left:  the  English  cricketeers  who  played  in  the 
cricket  sequence  with  Ronald  Colman  in  "Raffles." 
(Sorry  we  can't  give  their  names  but  there  just  isn't 
room!)  In  the  middle  row,  center,  you'll  find  Ronnie 
Colman  himself. 


for    July    19  30 


103 


"Meet  Mr.  Garrick,"  says  Paul  L.  Stein,  director  of 
Arthur  Hammerstein's  dramatic  operetta,  "Bride  66." 
Mr.  Garrick,  an  English  actor  with  a  fine  voice  and 
appealing  personality,  looms  as  a  new  idol. 


a  pencil  and  tell  them  to  Jmock  out  a  song  hit  and  have 
it  on  the  front  office  desk  at  eight  o'clock  in  the  morning. 
That  can't  be  done."  The  stage  producers  know  this  and 
pay  the  composer  for  the  finished  product:  whereas  the 
picture  producer  signs  a  song  writer  at  a  tremendous 
salary  and  wrings  his  hands  as  the  days  go  by  and  prac- 
tically nothing  happens.  A  time  clock  checks  all  spon- 
taneous action.     Geniuses  are  not  machines. 


Douglas  Fairbanks,  Jr.,  director  Howard  Hawks  and 
Richard  Barthelmess.    Yes,   they're  supposed  to  be 
working  in  "The  Dawn  Patrol,"  but  this,  apparently, 
is  an  off-stage  happy  interlude. 

Mary  Carr,  unforgettable  for  her  interpretation  of 
mother  parts,  proves  conclusively  that  she  is  not  a 
mother  in  name  only.  Here  are  her  six  children,  very 
proud  of  their  sweet-faced  mother — who  can  blame 


Mr.  Ziegfeld  plans  to  bring  the  whole  company  of 
"Simple  Simon,"  now  one  of  the  big  hits  of  the  New 
York  stage,  to  California  and  make  a  picture  of  the  piece. 
We  asked  him  how  Harriet  Hoctor,  whom  we  have  always 
admired,  was  getting  on  in  it.  Whereupon  Mr.  Ziegfeld 
waxed  enthusiastic  and  declared  that  Harriet  was  the 
the  finest  dancer  he  had  ever  seen  in  all  of  his  forty  years' 
experience  in  the  theater  and  that  her  hunting  dance  in 
"Simple  Simon"  was  a  sensation.  This,  from  the  man  of 
Mr.  Ziegfeld's  standing,  is  a  real  tribute.  "She  has,"  he 
went  on,  "a  quality  about  her  that  no  one  else  has,  a 
sort  of  detached,  impersonal,  illusive  imaginative  quality 
that  is  truly  remarkable.  She  is  greater  in  my  opinion 
than  Genee  or  Pavlowa  or  any  of  them." 

Back  of  this  placing  of  the  laurel  wreath  upon  the  fair 
brow  of  the  spirituelle  little  Harriet  is  a  story.  It  had 
always  been  her  ambition  to  be  under  Florenz  Ziegfeld's 
management,  as  it  has  been  the  ambition  of  countless 
thousands  of  ambitious  girls  and  boys.  But  he  would  have 
none  of  her.  "She  can  never  be  in  a  show  of  mine.  She 
has  technique  but  nothing  else,"  he  was  reported  to 
Harriet  to  have  said.  Harriet  made  up  her  mind  that 
someday  he  would  have  to  change  his  opinion  about  her 
and  she  worked  very  hard  to  perfect  herself  in  her  art. 
The  Bird  Dance  in  'Topsy  and  Eva"  was  her  first  sensa- 
tional success  but  she  kept  right  on  plodding.  We  hope 
she  sees  this  paragraph  for  it  would  certainly  make  her 
very  happy  to  know  that  the  manager  whose  work  she 
has  always  so  tremendously  admired  has  an  equal  admira- 
tion of  her  as  an  artist. 

^  ^  ^ 

Ian  Keith  had  an  interesting  experience  recently  on  the 
Swanson  picture,  "What  a  Widow."    Joseph  P.  Kennedy 
conceived  the  brilliant  idea  of  having  dummy  sets  and 
photographing  the  dress  rehearsals  so  a  record  would  be 
available  for  study  when  they  began  the  real  production. 
It  was  a  sort  of  rough  copy,  just  as  an  author  makes,  and 
from  it  is  able  to  correct  his  mistakes.    It  is  an  exceed- 
ingly valuable  record  and  this  is  the  first  time  it  has  been 
done  in  the  history  of  pictures.    Ian  Keith  was  cast  as 
the  heavy,  but  the  photographic  record  showed  that  he 
wasn't  quite  'heavy'  enough.    The  part  required  a  more 
sophisticated  and  older  man-about-town  type  of  man, 
so  Ian  trotted  over  to  United  Artists  to  play  John 
Wildes  Booth  in  D.  W.  Griffith's  "Lincoln,"  while 
Lew    Cody    stepped    into    Ian's    place    in  Gloria's 
picture  where  Lou  makes  his  talkie  debut. 


104 


SCREENLAND 


ASK  ME 

By 

Miss  Vee  Dee 


Miss  Vee  Dee  will  be  glad  to 
answer  any  questions  you  may 
care  to  ask  about  pictures  and 
picture  people.  If  you  wish  an 
answer  in  the  Magazine,  please 
be  patient  and  await  your  turn; 
but  if  you  prefer  a  personal 
reply,  please  enclose  a  stamped 
addressed  envelope.  Address: 
Miss  Vee  Dee,  Screenland 
Magazine,  45  West  45th  Street, 
New  York  City. 


We've  long  known  that  Buddy  Rogers  is  popular  but  every 
time  we  open  a  fresh  batch  of  mail  we  realize  it  all  over  again. 
Here  he  is  with  his  most  loyal  and  adoring  fan,  his  mother. 


B.  M.  B.  of  Burlington,  Iowa.  Since 
you've  won  a  beauty  contest  you 
want  to  start  something — that's  a 
good  line  but  can  you  finish  it? 
Sorry,  but  the  Paramount  School  is  no 
longer  the  hope  of  ambitious  youngsters. 
The  school  graduated  just  one  class  several 
years  ago;  among  the  grads  were  Buddy 
Rogers,  Josephine  Dunn,  Thelma  Todd, 
Jack  Luden  and  Walter  Goss,  who  is  now 
known  as  Roland  Drew. 

Edna  May  of  Jamestown,  N..  Da\.  You'd 
like  to  have  a  talking  picture  of  me?  Some 
one  would  ask  that.  Sorry  my  pictures 
are  all  silent  and  who  wants  a  quiet  pic- 
ture these  days?  Hoot  Gibson's  real  name 
is  Edward  Gibson.  He  was  born  in 
Tekamah,  Neb.,  in  1892.  He  has  dark 
brown  hair,  blue  eyes,  is  5  feet  9  inches 
tall  and  weighs  160  pounds.  He  entered 
pictures  about  IT  years  ago  and  has  been 
with  Universal  ever  since.  You  can  write 
him  at  Universal  Studios,  Universal  City, 
Cal. 

Helen  of  Troy.  I  can  offer  you  other 
players  with  foreign  backgrounds  but  I'm 
short  on  Grecian  players  just  now.  In 
Mary  Pickford's  film,  "The  Love  Light," 
produced  several  years  ago,  George  Rigas, 
who  was  born  in  Greece,  had  a  role.  Now, 
no  puns  on  that.  Nicholas  Morris,  also 
Grecian  born,  appeared  in  "The  Bright 
Shawl"  with  Dorothy  Gish. 

Claire  of  Columbia,  S.  C.  Do  I  lead  the 
simple  life?  You'd  be  surprised  how  sim- 
ple— shopping,  shopping,  picture  shopping 
all  hours  of  the  day  and  night  and — but 
why  go  into  all  that?  "Little  Annie 
Rooney,"  with  Mary  Pickford  as  the  star, 
was  released  in  1925,  and  "Sparrows"  in 
1926.  Jack  Pickford  played  with  his  sister 
Mary  in  "Through  the  Back  Door,"  and 
Lloyd  Hughes  was  opposite  her  in  "Tess 
of  the  Storm  Country."  In  "Daddy  Long- 
legs"  Mahlon  Hamilton  appeared,  and  in 
"Rebecca  of  Sunnybrook  Farm,"  James 
Neill.  Victor  Potel  played  with  Mary  in 
"Capt  Kidd,  Jr."  I  have  no  record  of 
"Becky"  except  the  release  of  1928.  You 
may  have  "Vanity  Fair"  in  mind,  released 
in  1915. 

Helen  Mc  W.  of  "Hiagara  Falls.  I've 
never  tried  to  buy  a  one-way  ticket  on  a 
merry-go-round  but  I'm  not  averse  to  the 


suggestion.  I'm  game  to  the  last  round. 
June  Marlowe  was  born  in  St.  Cloud, 
Minn.  She  has  dark  blue  eyes,  reddish 
brown  hair,  is  5  feet  5  inches  tall  and 
weighs  113  pounds.  Sue  Carol  was  born 
in  Chicago,  111.,  on  Oct.  30,  1908,  and 
married  to  Nick  Stuart  on  July  28,  1929, 
in  Ventura,  Cal. 

Tippy  of  Buffalo.  Or  is  it  Zippy? 
Eugenia  Gilbert  was  born  in  East  Orange, 
N.  J.,  but  she  doesn't  tell  the  date.  She 
is  5  feet  4  inches  tall,  weighs  122  pounds 
and  has  light  brown  hair  and  blue  eyes. 
She  was  a  stage  dancer  before  going  in 
the  movies  about  6  years  ago.  Shirley 
Mason  and  Cullen  Landis  appeared  in 
"Sweet  Rosie  O'Grady."  Cullen  was  born 
in  Nashville,  Tenn.  He  has  curly  brown 
hair,  brown  eyes,  is  5  feet  6  inches  tall  and 
weighs  14?  pounds.  Emil  Jannings  and 
Lya  de  Putti  shared  honors  in  "Variety." 

Christine  of  Alton,  II!.  Not  for  the 
world  would  I  chide  my  fan  friends,  but 
when  letters  come  in  written  in  pencil,  my 
day  is  spoiled  and  I  have  to  call  on  my 
chirography  experts  for  help.  Help! 
Alice  White  was  born  Aug.  28,  1907  in 
Paterson,  N.  J.  She  has  blonde  hair,  brown 
eyes,  is  5  feet  2  inches  tall  and  weighs  110 
pounds.  Her  hobbies  are  dancing,  swim- 
ming, riding,  tennis,  golf  and  jazz  music. 
Write  to  her  at  First  National  Studios, 
Burbank,  Cal. 

Irene  and  Anna  of  Chicago.  You  want 
Buddy  Rogers'  life?  I  might  have  known 
you'd  want  .something  like  that.  Well,  you 
can  have  his  brief  biography.  He  was  born 
Aug.  13,  1905,  in  Olathe,  Kansas.  His 
hair  is  black,  eyes  are  brown  and  his  weight 
175  pounds.  He  has  played  in  "Fasci- 
nating Youth,"  "Wings,"  "My  Best  Girl," 
"Abie's  Irish  Rose,"  "Varsity,"  "Someone 
to  Love,"  and  other  films.  George  Lewis 
was  born  Dec.  10,  1905,  in  Mexico  City, 
Mex.  He  has  brown  hair  and  eyes,  is  6 
feet  tall  and  weighs  175  pounds.  His  wife 
is  Mary  Lou  Lohman,  non-professional. 

Lilac  from  Hamilton,  Ont.  There  is  no 
use  denying  the  fact  that  talkies  are  here 


to  say  for  sound  reasons.  Jack  Oakie 
was  on  the  stage  in  New  York  City  in 
1919,  playing  in  several  well-known  Broad- 
way productions  until  the  movies  got  him. 
He  appeared  with  Laura  La  Plante  in 
"Finders  Keepers"  and  with  Clara  Bow  in 
"The  Fleet's  In."  Jack  was  born  in  Sedalia, 
Mo.  He  has  brown  hair,  blue  eyes,  is  5 
feet  11  inches  tall  and  weighs  155  pounds. 
He  sings  and  dances  in  "Hit  the  Deck" 
with  Polly  Walker.  His  new  pictures  are 
"Let's  Go  Native,"  with  Jeanette  Mac- 
donald  and  'Skeet'  Gallagher;  and  "The 
Social  Lion,"  in  which  he  is  starred. 

Julia  A.  from  Hobo\en.  I  do  not  often 
acknowledge  defeat  but  when  you  ask  for 
the  religious  affiliations  of  all  the  players, 
I  surrender.  Charles  Rogers  is  a  100  per 
cent  American,  born  in  the  state  of  Kansas, 
thoughtfully  putting  Olathe  on  the  map 
as  his  birthplace.  He  has  a  smile  the  girls 
love,  gleaming  teeth  the  boys  envy,  black 
hair,  brown  eyes  and  is  6  feet  tall  and 
weighs  175  pounds.  "Half  Way  To 
Heaven"  and  "Young  Eagles"  are  his  latest 
releases. 

Billie  from  South  Orange,  >{.  J.  Do 

I  care  if  you  ask  a  car-load  of  questions? 
It's  going  to  be  just  too  bad  for  me  if  you 
fans  don't  ask  questions,  so  come  on  while 
I'm  young  and  in  my  prime.  Look  up  the 
July  1925  Screenland  for  Esther  Ralston 
on  the  cover.  Richard  Arlen  has  not  been 
on  our  cover.  Richard  was  born  Sept.  1, 
1899,  in  Charlottesville,  Va.  He  has 
medium-brown  hair,  gray  eyes,  is   5  feet 

II  inches  tall  and  weighs  161  pounds. 
His  hobbies  are  golf,  swimming,  riding  and 
tennis.  His  latest  release  is  "The  Border 
Legion"  with  Fay  Wray. 

Jim  from  Michigan.  Am  I  always  funny? 
Listen  to  me!  Even  in  my  dullest  moments, 
I  can  poke  a  joke  and  find  some  one  to 
laugh  at  my  antics — and  I  don't  mean  old- 
fashioned  furniture.  You  can  reach  May 
McAvoy  at  Warner  Bros.  Studios,  5842 
Sunset  Blvd.,  Hollywood,  Cal.  Billie  Dove 
and  Richard  Barthelmess  at  First  National 
Studios,  Burbank,  Cal.  Fay  Wray  and 
Charles  Rogers  at  Paramount  Studios,  5451 


for    July    19  30 


105 


Marathon  St.,  Hollywood,  Cal.  Ronald 
Colman  at  Samuel  Goldwyn  Studios,  7210 
Santa  Monica  Blvd.,  Hollywood,  Cal. 
Harold  Lloyd  at  Harold  Lloyd  Productions. 
1040  N.  Las  Palmas  Ave.,  Hollywood,  Cal. 
Lily  Damita  has  been  appearing  in  "Sons 
o'Guns"  with  Jack  Donahue,  the  comedian, 
at  the  Imperial  Theater  in  New  York  City. 

H.  Marilyn  of  East  Haven,  Conn.  With 
so  many  compliments  for  my  department, 
letters  like  yours  make  sunshine  on  gray 
days,  believe  it  or  not,  or  why  won't  you? 
Nick  Stuart's  real  name  is  Niculae  Pratza, 
born  in  Roumania  on  April  10,  1906.  He 
has  curly  black  hair  and  brown  eyes.  Sue 
Carol's  real  name  is  Evelyn  Lederer  but 
she  was  married  to  Nick  Stuart  under  the 
name,  Eva  Jenny  Kiefer — the  name  of  her 
former  husband  was  Keifer.  Loretta  Young 
was  born  in  1912  in  Salt  Lake  City,  Utah. 
Ruth  Taylor  was  born  January  15,  1907. 
in  Grand  Rapids,  Mich.  She  has  blonde 
hair,  blue  eyes,  is  5  feet  2  inches  tall  and 
weighs  104  pounds.  Ruth  is  now  Mrs. 
Paul  Zuckerman. 

Malcolm  B.  K.  from  7^ewar\,  N..  J. 
This  is  certainly  an  air-minded  age,  so  why 
not  have  an  endurance  contest — that  is. 
who  has  been  up  in  the  air  for  the  longest 
time?  Charles  Byers  appeared  in  "Horse- 
man of  the  Plains"  with  Tom  Mix  and 
Sally  Blane;  in  "Alex  the  Great"  with 
'Skeet'  Gallagher,  Ruth  Dwyer  and  Patricia 
Avery;  and  in  "Shanghai  Bound"  with 
Richard  Dix  and  Mary  Brian.  Charles  was 
born  February  28,  1895,  in  Newark,  N.  J. 
He  is  6  feet  and  %  inches  tall,  weighs  178 
pounds  and  has  dark  brown  hair  and  blue 
eyes.  He  attended  Mount  Pleasant  Military 
Academy  and  Cornell  University. 

Kathleen  from  Vancouver.  Outbursts  of 
enthusiasm  for  the  stars  and  worth-while 
pictures  have  my  hearty  endorsement  so  if 
my  word  means  anything  to  you,  clap  loud 
and  long  for  your  favorites.  Esther  Ralston 
was  born  September  17,  1902,  in  Bar  Har- 
bor, Maine.  She  is  5  feet  6  inches  tall, 
weighs  124  pounds  and  has  golden  hair  and 
blue  eyes.  She  is  touring  the  middle  and 
west  states  in  a  vaudeville  act  and  hasn't 
made  a  picture  for  some  time.  Nils  Asther 
has  been  taking  a  fling  in  vaudeville,  too, 
but  you  can  find  Gary  Cooper  busy  on  the 
Paramount  lot,  5451  Marathon  St.,  Holly- 
wood, Cal. 

J.  G.  of  Hew  Tor\.  What  is  the  differ- 
ence between  scenario  writing  and  interior 
decorating?  Are  you  kidding  me?  A 
scenario  is  the  sketch  of  a  plot  or  chief 
incidents  of  a  play  or  motion  picture  and 
interior  decorating  is — now  I  \now  you're 
kidding  me.  I'm  sending  out  a  call  for 
Len  Leo,  Leo  Moser  or  Leonard  St.  Leo — 
take  your  choice;  what's  in  a  name?  J.  G. 
says  Len  Leo  appeared  in  "The  Law  and 
the  Lady"  with  Alice  Lake  and  Maurice 
Costello  in  1925.  My  list  of  players  born 
in  Italy  are,  Bull  Montana,  born  in  Voghera; 
Carillo  Mario,  born  in  Naples;  Robert  St. 
Angelo,  born  in  Elena;  and  the  late  Rudolph 
Valentino,  born  in  Castellaneta,  Italy. 

Anne  K.  from  Bronx.  T.  Don't  you 
think  I'd  be  stretching  a  bit  with  so  many 
snappy  come-backs?  You  can  reach  William 
Powell  and  George  Bancroft  at  Paramount 
Studios,  5451  Marathon  Street,  Hollywood, 
Cal.  Laura  La  Plante  at  Universal  Studios, 
Universal  City,  Cal.  Don  Alvarado,  Gil- 
bert Roland  and  John  Holland  at  United 
Artists  Studios,  1041  No.  Formosa  Ave., 
Hollywood,  Cal. 


Miss    Vee   Dee's  correspondent's 
are  strong  for  Alice  White.  First, 
last,    and   all    the    time   she's  a 
top-notch  favorite. 


D.  B.  and  L.  H.  of  Old  Kentucky.  Do 
I  think  marriage  a  failure?  No,  not  neces- 
sarily; there's  always  a  fighting  chance. 
Conrad  Nagle  was  born  March  16,  1897, 
in  Keokuk.  Iowa.  He  is  6  feet  tall,  weighs 
160  pounds  and  has  blond  hair  and  blue 
eyes.  His  wife  is  Ruth  Helms,  a  non-pro- 
fessional. Dolores  Costello  w'as  born  in 
1906  in  Brooklyn,  N.  Y.  She  is  5  feet 
4  inches  tall,  has  golden  hair  and  blue  eyes. 
She  is  Mrs.  John  Barrymore  in  private  life. 
Alice  White  is  22  years  old,  weighs  110 
pounds,  is  5  feet  2  inches  tall  and  has 
blonde  hair  and  brown  eyes. 

Janet  G.  of  l^ew  Jersey.  The  stars  you 
mention  are  not  of  Irish  ancestry  as  far 


Sue  Carol,  with  her  wistful  young 
charm,  gets   her  share  of  atten- 
tion,   too.    Her    next   picture  is 
"She's  My  Weakness." 


as  I  know.  Norma  Shearer  is  a  Canadian, 
Ramon  Novarro  is  a  Mexican.  Philippe  de 
Lacy  is  French.  Clive  Brook,  Reginald 
Denny  and  Ronald  Colman  are  English; 
and  Andre  Beranger  and  Billie  Bevan  are 
Australians. 

Mary  from  Philadelphia.  The  talkies 
brought  Conway  Tearle  back  to  his  many 
admirers.  He  appears  in  "Gold  Diggers  of 
Broadway"  with  Winnie  Lightner  and  in 
"Evidence"  with  Pauline  Frederick.  Con- 
way was  born  in  New  York  City  in  1 88 2 . 
He  has  dark  brown  hair,  brown  eyes,  is 
5  feet  lOVs  inches  tall  and  weighs  160 
pounds.  He  was  on  the  stage  for  many 
years  playing  with  such  well-known  stars 
as  the  late  Ellen  Terry,  Billie  Burke,  Ethel 
Barrymore,  Viola  Allen  and  Grace  George. 

A!!  Alone,  Sydney,  Australia.  Come  on 
over  if  you're  lonesome  and  we'll  go  places, 
ring  door-bells  and  everything.  Vera 
Reynolds  was  born  Nov.  25,  1903,  in  Rich- 
mond, Va.  She  is  5  feet  and  V\  inches  tall, 
weighs  102  pounds  and  has  brown  hair 
and  hazel  eyes.  Robert  Ellis  is  her  hus- 
band. Madge  Bellamy  has  auburn  hair, 
brown  eyes,  is  5  feet  3  inches  tall  and 
weighs  110  pounds.  Kenneth  Thompson, 
who  plays  with  Billie  Dove  in  "The  Other 
Tomorrow,"  was  born  Jan.  7,  1899,  in  Pitts- 
burgh, Pa.  He  was  on  the  stage  6  years 
before  appearing  in  pictures  in  1926.  His 
wife  is  Alden  Gay.  an  actress. 

Teresa  M.  of  A\ron,  Ohio.  You  want 
the  lives  of  27  players.  Can  you  feature 
that?  Lane  Chandler  was  born  June  4, 
1901,  in  Culbertson,  Mont.  He  is  6  feet 
3  inches  tall,  weighs  185  pounds  and  has 
red  hair  and  blue  eyes.  His  real  name  is 
Oaks.  Bessie  Love  was  born  in  Midland, 
Texas.  She  has  light  brown  hair,  brown 
eyes,  is  5  feet  tall  and  weighs  100  pounds. 
She  is  now  Mrs.  William  Hawks.  Lupe 
Velez  was  christened  Maria  Villabalos. 
She  was  born  July  18,  1910,  in  San  Luis 
Potosi.  Mexico.  She  has  black  hair,  brown 
eyes,  is  5  feet  5  inches  tall  and  weighs  115 
pounds.  Nancy  Carroll  is  the  wife  of  Jack 
Kirkland.  They  have  a  4-year-old  daughter, 
Patricia. 

A  Subscriber  from  Yon\ers,  ?\L  T.  You 
don't  sign  your  real  name  or  your  pet 
name,  either — but  you  may  be  too  young 
for  that.  Gary  Cooper  was  born  May  7, 
1901,  in  Helena.  Mont.  He  is  6  feet  2 
inches  tall,  weighs  180  pounds  and  has 
dark  brown  hair  and  blue  eyes.  Still  single. 
His  latest  pictures  are  "Seven  Days  Leave" 
with  Beryl  Mercer  and  "Only  the  Brave" 
with  Mary  Brian. 

J.  M.  S.  from  Raleigh.  X-  C.  Your 
letter  is  the  shortest  I've  received  in  a  long 
time — if  you'd  written  a  shorter  one  it 
would  have  taken  longer.  Douglas  Fair- 
banks. Jr.  was  born  in  New  York  City 
on  Dec.  9.  1910.  He  is  6  feet  1  inch  tall, 
weighs  170  pounds  and  has  light  brown 
hair  and  blue  eyes.  He  has  appeared  in 
"Loose  Ankles,"  "The  Forward  Pass," 
"Fast  Life,"  "Our  Modern  Maidens,"  and 
"The  Jazz  Age."  Ramon  Novarro's  latest 
films  are,  "The  Pagan"  with  Dorothy  Janis 
and  Renee  Adoree;  "Devil  May  Care"  with 
Dorothy  Jordan.  Philippe  de  Lacy  was 
born  July  2  5.  1917,  in  Nancy,  France. 
You  can  write  to  him  at  904  Guarantee 
Bldg.,  Hollywood,  Cal.  His  new  pictures 
are  "Sarah  and  Son"  with  Ruth  Chatterton, 
and  "One  Romantic  Night,"  with  Lillian 
Gish. 

Mary   of  Royal   Oa\.   Mich.     Seven  of 


106 


SCREENLAND 


your  household,  and  you  all  want  to  get 
the  first  peep  at  Screenland.  There's 
excitement  for  the  old  town  and  a  merry 
heigh-ho.  Frank  Keenan  died  some  time 
ago.  Flora  Finch  is  seen  in  pictures  oc- 
casionally. I  haven't  had  a  picture  account 
of  Frank  Mayo  in  a  long  time  but  Charles 
Delaney  is  hopping  around  from  one  stu- 
dio to  another  making  pictures.  His  last 
film  released  is  "The  Girl  from  Wool- 
worth's"  with  Alice  White.  He  is  working 
in  his  new  picture,  "The  Ivory  Trail"  with 
Nora  Lane  at  Warner  Bros.  Studios,  5842 
Sunset  Blvd.,  Hollywood,  Cal. 

Ruth  G.  of  Chicago.  So  you  broke  your 
wrist  playing  Buck  Jones — what  new  game 
of  tiddle-de-winks  is  this?  Buck  was  born 
in  Vincennes,  Ind.  His  wife  is  Odille 
Osborne.  He  has  brown  hair,  gray  eyes, 
is  5  feet  1 1  and  %  inches  tall  and  weighs 
173  pounds.  Audrey  Ferris  played  with 
Irene  Rich  in  "The  Silver  Slave."  Others 
in  the  cast  were  Carroll  Nye,  John  Miljan 
and  Holmes  Herbert. 

]ane  of  Colfax.  You  want  a  break  about 
Paddy  O'Flynn.  He  is  on  the  bright  and 
sunny  side  of  30,  born  in  Pittsburgh,  Pa., 
has  curly  brown  hair,  is  5  feet  10%  inches 
tall  and  weighs  150  pounds.  He  was  on 
the  stage  at  a  very  early  age  and  has  been 
in  pictures  since  1926.  _  My  last  record  of 
his  films  are,  "Face  Value"  and  "Sweeping 
Against  the  Winds."  Edmund  Lowe  was 
born  in  California  but  he  doesn't  give  his 
age.  He  has  light  brown  hair,  blue  eyes, 
is  6  feet  tall  and  weighs  170  pounds.  He 
is  married  to  Lilyan  Tashman,  one  of  the 
best-dressed  women  of  the  screen. 

Frances  B.  of  Lancaster,  Ohio.  Do  I 
call  answering  letters  hard  work?  Well, 
you  see,  it's  the  unhappy  medium — too 
light  for  heavy  work  and  too  heavy  for 
light  work.  Lloyd  Hughes  was  born  in 
Bisbee,  Arizona.  He  is  6  feet  tall,  weighs 
155  pounds  and  has  brown  hair  and  gray 
eyes.  His  wife  is  Gloria  Hope.  Their  son 
Donald  was  born  in  Dec,  1926.  Lloyd 
has  played  in  "The  Mysterious  Island," 
"Where  East  is  East,"  "The  Stolen  Bride," 


Richard  Arlen,  always  a  favorite 
with    the   'Ask   Me'  department. 


and  "An  affair  of  the  Follies."  He  plays 
with  Bebe  Daniels  in  "When  Love  Comes 
Along,"  and  "Dixiana,"  both  pictures  from 
the  RKO  Studios,  780  Gower  St.,  Holly- 
wood, Cal. 

A  Lassie  from  Philadelphia.  You  get  a 
lot  of  fun  out  of  reading  my  department, 
do  you?  In  other  words,  you  get  out 
what  I  put  in — part  of  the  daily  grind,  as 
the  cameramen  say  when  they  grab  the 
crank.  Johnnie  Walker  can  be  reached 
at  Columbia  Studios,  1438  Gower  St., 
Hollywood,  Cal.  Roland  Drew  at  the 
Edwin  Carewe  Productions,  Tec-Art  Stu- 
dios, Hollywood,  Cal.  He  was  born  in 
1903  in  Elmhurst,  L.  I.  His  real  name 
is  Walter  Goss.  He  has  black  hair,  dark 
gray  eyes,  is  6  feet  tall  and  weighs  165 
pounds.    Not  married. 

]ulia  S.  of  Atlantic  City.  Many  thanks 
in  advance  for  the  invitation  to  dash  and 
splash  in  your  ocean — don't  you  worry,  I'll 
be  there  without  the  usual  urge.  Buster 
Keaton  was  born  Oct.  4,  1896  in  Pickway, 
Kansas.  He  is  5  feet  5  inches  tall,  weighs 
140  pounds  and  has  black  hair  and  eyes. 
He  was  in  vaudeville  before  going  into  pic- 
tures in  1917.  Address  him  at  Metro- 
Goldwyn-Mayer  Studios,  Culver  City,  Cal. 
Betty  Bronson  at  Warner  Bros.  Studios, 
5842  Sunset  Blvd.,  Hollywood,  Cal. 
Corinne  Griffith  at  First  National  Studios, 
Burbank,  Cal.  Neil  Hamilton  at  Paramount 
Studios,  5451  Marathon  St.,  Hollywood, 
Cal.;  and  June  Collyer  at  Fox  Studios,  1401 
No.  Western  Ave.,  Hollywood,  Cal. 

Tarzana  of  Detroit.  You  surely  love 
your  ancient  history  and  don't  you  wish 
j  did?  My  records  of  casts  do  not  go  back 
as  far  as  "Scrambled  Wives,"  reviewed  in 
1921.  Come  on,  Tarzy  (may  I  call  you 
that?)  let's  be  modern  and  dig  up  more 
recent  pictures.  Paul  Page  in  private  life 
is  Paul  Hicks.  He  was  born  May  13,  1903, 
in  Birmingham,  Ala.  He  plays  in  "The 
Girl  from  Havana"  with  Lola  Lane  and 
Kenneth  Thompson  and  in  "Men  Without 
Women"  with  Frank  Albertson  and  Ken- 
neth McKenna,  recently  from  the  stage. 
There's  a  picture  that  will  tear  the  old 
heart-strings  to  shreds.  I  don't  know 
Jean  Acker's  age  but  she  was  born  in  Tren- 
ton, N.  J.,  and  was  once  the  wife  of  the 
late  Rudolph  Valentino.  She  is  5  feet 
2y2  inches  tall,  weighs  112  pounds  and  has 
dark  brown  hair  and  hazel  eyes. 

Tad  from  Duluth,  Minn.  I'll  keep  your 
dark  secret  that  you  adore  John  Boles  but 
who  wouldn't  have  heart  failure  over  his 
grand  voice?  His  next  picture  will  be 
"Moonlight  Madness"  to  be  followed  by 
"King  of  Jazz"  with  Paul  Whiteman, 
Jeanette  Loff  and  Barbara  Kent.  John  was 
born  Oct.  27,  1899,  in  Greenville,  Texas. 
He  is  6  feet  1  inch  tall,  weighs  183  pounds 
and  has  brown  hair  and  gray-blue  eyes. 
He  is  married. 

Violet  M.  C.  from  El  Paso,  Tex.  You 
like  the  cave-man  variety,  do  you?  Well, 
he  may  not  know  what  real  love  is  but  he 
can  give  you  a  rough  idea.  Milton  Sills 
was  born  in  Chicago,  111.  He  doesn't  di- 
vulge his  birthday.  He  has  brown  hair, 
gray  eyes,  is  6  feet  IV2  inches  tall  and 
weighs  190  pounds.  He  has  been  ill  but 
has  recovered  and  is  working  on  the  Fox 
lot  in  "A  Very  Practical  Joke"  (temporary 
title).  Lon  Chaney  was  born  April  1, 
1883,  in  Colorado  Springs,  Colo.  He  has 
black  hair,  brown  eyes,  is  5  feet  9  inches 
tall  and   weighs    155   pounds.     His  next 


James  Murray — curly-haired  and 
Irish,  popular  since  "The  Crowd." 


film  will  be  a  talkie.  Gwen  Lee's  real 
name  is  Gwendolyn  LePinski. 

Odette  from  Pasadena,  Cal.  Who  said 
join  the  navy  and  seize  the  girls?  Loretta 
Young  is  5  feet  3  inches  tall.  Her  latest 
picture  is  "Second  Floor  Mystery"  with 
Grant  Withers.  Josephine  Dunn  appears 
in  "Red  Hot  Rhythm"  with  Alan  Hale. 
Josephine  is  5  feet  3%  inches  tall.  Renee 
Adoree  is  5  feet  1  inch  tall,  weighs  107 
pounds  and  has  brown  hair  and  blue  eyes. 

Mae  S.  of  J^ew  Tor\.  I'm  a  good  de- 
tective but  the  dark-haired  girl,  short  and 
a  trifle  plump,  who  looks  young  and  healthy 
and  is  in  Westerns,  is  a  bit  heavy  for  my 
usual  deductions.  All  Western  stars  not 
on  a  diet,  please  step  forward  and  leave 
your  names  at  the  box  office  and  get  a 
coupon  for  the  non-stop  radio  we  are  giv- 
ing away  with  every  ten  tickets  sold.  Sally 
Rand  was  born  in  Winchester,  Ky.  She 
hasn't  been  in  a  recent  film  to  my  knowl- 
edge and  she  hasn't  told  me  of  her  future 
picture  plans. 

Lindy  of  Pittston,  Pa.  I  thought  every 
body  knew  all  about  Sue  Carol  but  perhaps 
you  and  your  air-craft  haven't  been  on  the 
level  long  enough  to  get  the  latest  news 
of  the  stars.  Sue  was  born  Oct.  30,  1908, 
in  Chicago,  111.  She  is  5  feet  3  inches 
tall,  weighs  108  pounds  and  has  dark  brown 
hair  and  eyes.    She  is  in  "The  Big  Party." 

Eleanor  Jane  of  Maumee,  Ohio.  You 
have  heard  that  Clara  Bow  is  the  wife  of 
Charles  Rogers  and  that  Mary  Brian  is  en- 
gaged to  him  and  what  can  I  do  about  it? 
Buddy  Rogers  is  a  very  busy  boy  but  not 
that  busy.  Clara  is  reported  engaged  to  Harry 
Richman  who  stars  in  "Puttin'  on  the  Ritz." 
Buddy  isn't  married  or  engaged.  Gary 
Cooper's  next  picture  will  be  "The  Texan" 
with  Fay  Wray.  Rin-Tin-Tin  gets  his  pay 
check  at  Warner  Bros.  Studios,  5842  Sun- 
set Blvd.,  Hollywood,  Cal.  Nancy  Carroll's 
real  name  is  Nancy  Lahiff.  Mary  Pickford 
was  37  years  old  on  April  8. 


for    July  1930 


107 


Vincent  superintending  a  facial  treatment  in  his 
beauty  salon  on  the  Rue  Royale,  Paris,  He  advises 
Palmolive,  as  do  so  many  of  his  famous  colleagues. 


"An  irritated  skin— you  are  using 
the  wrong  kind  of  soap,  perhaps. 
Use  Palmolive.  Its  color  is  the 
color  of  palm  and  olive  oils.  It 
has  a  fresh,  natural  odor.  It  not 
only  keeps  the  skin  free  of  irrita- 
tion, but  it  leaves  the  complexion 
refreshed  and  beautiful." 


20  Rue  Royalb 
Paris 


Vincent  of  Paris 

Beauty  Expert  to  Society 

warns  against  the  wrong  kind  of 
soap . . .  "you  should  use  Palmolive" 


Beauty  experts  recognize 
the  need  for  a  soap  contain- 
ing olive  oil  to  keep  skin 
fresh,  smooth  and  lovely. 

WE  particularly  stress  to  all  our  cli- 
ents," says  Vincent  of  Paris,  "the 
importance  of  skin  cleansing.  That  means 
keeping  the  skin  free  of  impurities  and  ready 
for  our  special  treatment.  Andforthis  purpose 
we  recommend  just  one  soap — -Palmolive." 

Vincent  has  a  very  important  shop  on  the 
Rue  Royale,  across  from  the  famous  Made- 
leine in  Paris.  Here  he  administers  to  the 
beauty  needs  of  world  travelers  and  women 
of  fashion  in  Paris.  And  he  warns  them  of 
the  dangers  in  using  the  wrong  kind  of  soap. 

"You  should  use  Palmolive,"  he  insists, 
"which  is  made  of  vegetable  oils." 

Unless  impurities  and  daily  accumulations 
of  oil  and  dirt  are  removed  from  the  pores, 


you  soon  discover  blackheads,  pimples,  and 
enlarged  pores,  which  are  some  of  women's 
chief  beauty  grievances. 

Palm  and  olive  oils  in  soap  have  a  bene- 
ficial effect  on  the  skin.  They  cleanse  the 
pores  without  irritation.  They  leave  the  sur- 
face of  the  skin  toned  up  and  stimulated,  yet 
they  are  so  gentle,  so  easy  on  the  skin.  That 
is,  undoubtedly,  why  these  fine  cosmetic  oils 
have  been  used  by  lovely  women  since  Cleo- 
patra's time. 

Here  is  the  famous  treatment 

With  both  hands  work  up  a  fine  lather  of 
Palmolive  Soap  and  warm  water.  Work  this 
tenderly  into  the  skin  of  face  and 
.throat,  massaging  for  about  two 
minutes.  You  can  actually  feel 
the  impurities  being  carried  away 
from  under  the  surface  of  the 
skin.  Rinse,  first  with  warm 
water,  then  with  cold.    In  the 


morning,  perhaps  you'll  need  a  touch  of 
cream  or  some  kind  of  astringent  before  put- 
ting on  make-up.  That  is  the  basis  of  the 
home  beauty  treatment  recommended  by  more 
than  19,800  beauty  specialists. 

Consult  your  beauty  expert 

For  special  treatments,  you  will  have,  of 
course,  to  consult  your  own  expert.  But  for 
day  in  and  day  out  care  of  the  skin,  nothing 
is  quite  so  effective  as  this  simple  Palmolive 
treatment.  And  since  Palmolive  costs  no 
more  than  ordinary  soap,  millions  allow  it 
to  do  for  their  entire  body  what  it  does  so 
well  for  the  face.  Why  don't  you  begin  to 
use  it  tomorrow? 


A  vast  professional 
groupof  19,813  beauty 
specialists  finds  one 
soap  best.  They  all  ad- 
vise Palmolive! 


5235  V, 


PALMOLIVE  RADIO  HOUR-Broadcast  every  Wednesday  night-from  8:30  to  9:30  p.  m..  Eastern 
time;  7:30  to  8:30  p.  m.,  Central  time;  6:30  to  7:30  p.  m.,  Mountain  time ;  5:30  to  6:30  p.  m.,  Pacific 
Coast  time— over  WEAF  and  39  stations  associated  with  The  National  Broadcascing  Company. 


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Price 


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108 


SCREENLAND 


Summer  Beauty  —  Continued  from  page  63 


soothing  and  tonic  in  its  action,  it  softens 
the  hardest  water  and  induces  a  healthy 
glow  and  supple  texture. 

If  you  are  troubled  with  prickly  heat, 
try  a  bran  bath.  This  is  not  a  new  idea 
at  all.  In  the  days  of  Louis  XIV  the 
ladies  of  the  court  used  all  sorts  of  in- 
gredients in  their  baths  to  preserve  the  soft 
beauty  of  their  skin.  Among  these,  bran 
was  much  in  favor  and  from  then  until 
now  it  has  been  used  by  French  women. 
It  now  comes  in  convenient  form  for  using, 
delicately  perfumed.  This,  too,  softens  the 
water  and  relieves  prickly  heat,  leaving  the 
skin  soft  and  velvety. 

Another  ideal  body  and  bath  treatment 
is  a  quick,  rub  with  a  smooth  rich  oil — I 
suppose  we  can  call  it  complexion  oil,  for 
it's  as  good  for  the  face  as  for  the  body. 
It  sinks  deep  into  the  delicate  tissues  of 
the  skin  making  it  soft  and  smooth  as  a 
baby's.  And  the  oil,  in  conjunction  with 
the  massage  has  a  gentle,  stimulating  effect, 
taking  away  the  tired  feeling  most  of  us 
have  after  a  wearing  day. 

This  treatment  is  valuable  before  going 
in  bathing,  or  before  entering  upon  any 
form  of  sport  that  exposes  bare  arms,  back 
and  limbs  to  the  merciless  rays  of  the  sun. 
Apply  the  oil  with  the  tips  of  the  fingers, 
to  the  entire  body.  After  a  couple  of  min- 
utes,  wipe  off  excessive  oil  and  dust  the 
body  with  powder.  If  it  tans  at  all,  it 
tans  evenly  and  causes  no  discomfort  as 
the  skin  is  thorougly  protected  by  the  oil. 
And  the  tan  is  evenly  distributed,  natural 
and  healthy  looking. 

Now  let's  see  about  this  beautifying  and 
protection  business.  It's  really  not  hard, 
it's  simply  a  matter  of  not  exposing  your- 
self to  the  blazing  sun  or  harsh  winds  or 
to  prolonged  sessions  of  swimming  or  loll- 
ing on  the  sands  without  adequate  protec- 
tion to  the  skin. 

Rely  a  good  part  of  the  time  in  summer 
upon  cleansing  cream  or  oil  for  keeping 
the  face  clean.  Use  it,  or  a  skin  lotion, 
during  the  day,  leaving  soap  and  water  for 
night  use,  if  at  all.  And  don't  use  it  then 
if  you  have  had  a  strong  dose  of  sun  and 
wind.  And  always  before  going  out,  give 
the  skin  a  generous  application  of  cream 
or  oil,  smoothing  it  well  into  the  face, 
neck,  arms  and  hands.  And  when  you're 
going  bathing,  apply  it  to  the  entire  body, 
as  I  mentioned  before,  not  forgetting  a 
generous  dusting  of  powder. 

If  you're  going  out  for  a  day  of  motor- 
ing, hiking,  picnicing  or  a  day  at  the  beach, 
it's  not  necessary  to  go  about  with  a 
weather-beaten  appearance.  In  your  hand- 
bag place  a  small  tube  of  cleansing  cream, 
a  small  jar  of  skin  freshener  or  lotion  and 
several  sheets  of  cleansing  tissues.  When 
you  feel  that  you  need  freshening  up,  don't 
just  dab  on  some  extra  make-up;  find  a 
quiet  corner,  use  the  cleansing  cream  and 
skin  lotion,  add  powder  and  rouge  and  see 
how  fresh  and  rested  you  will  look  and 
feel,  and   five  minutes  will  do  the  trick. 

When  you  get  home,  cleanse  your  face 
and  neck  thoroughly  with  cream  or  oil, 
smooth  in  a  heavier  cream,  drench  wads 
of  cotton  with  cold  water,  then  witch  hazel 
or  an  astringent,  place  over  the  eyes,  lie 
down  and  relax  for  a  half  hour.  After  a 
quick  shower,  remove  the  cream  from  the 
face,  pat  briskly  with  cold  water  and  you'll 
look  as  dainty  and  cool  as  though  you  had 
spent  all  day  in  the  hammock  and  feel  far 
more  fit  than  if  you  had. 

And  now,  before  donning  your  dainty 
gown,   let's    consider    make-up.  Make-up 


Apparently  Kay  Francis  follows 
the  course  suggested  by  Screen- 
land's  beauty  editor  which  pro- 
vides for  an  even  distribution  of 
tan.  Very  becoming  with  a  white 
costume. 

must  be  just  a  bit  different  in  summer. 
Powder,  for  instance,  must  match  the  skin 
or  tone  in  with  it.  Don't  try  to  make 
your  skin  lighter  but  if  anything,  a  trifle 
darker.  Too  light  a  powder  gives  a  look 
of  artificiality  or  a  pasty,  grayish  look, 
while  too  dark  a  powder  on  a  fair  skin 
robs  it  of  its  transparency. 

Generally  speaking,  no  woman  should 
wear  white  powder  and  few  should  wear 
pink.  Very  fair  skins,  blonde  and  titian- 
haired,  may  wear  natural.  All  darker 
skins  look  well  in  ochre  or  rachel,  or  an 
ochre  or  rachel  and  pink  blend. 

There's  no  reason  now,  for  not  finding 
the  right  thing  for  a  powder  foundation. 


Do   you   remember   Mary  Korn- 
man,  once  in  "Our  Gang?"  She's 
back  again  in  "Doctor's  Orders," 
Hal  Roach  comedy. 


If  the  skin  is  dry,  a  bit  of  oily  cream 
should  be  used.  If  it's  oily,  a  dry  cream 
or  vanishing  cream  may  be  used,  or  a  pow- 
der lotion.  If  it's  normal,  a  cream  and 
powder  blend  is  good.  Incidentally,  this 
is  ideal  for  summer  use  for  any  type  of 
skin  as  the  creamy  base  protects  the  skin 
of  the  face,  neck  and  arms  from  sun,  wind 
and  weather  and  at  the  same  time  gives 
the  skin  a  soft,  mellow  finish.  And  best 
of  all,  it  stays  on. 

In  rouges,  there's  paste,  liquid  and  pow- 
der rouge.  In  colors,  there  are  geranium, 
rose,  raspberry,  orange  and  cherry.  There's 
rouge  for  every  coloring,  rouge  to  stay  on 
while  you're  in  bathing.  It  comes  in  com- 
pacts, boxes  and  bottles  and  it's  yours  to 
try  and  to  choose  for  your  own  individual 
type. 

Lipsticks  are  almost  as  variable,  coming 
in  every  possible  color  and  texture  from 
palest  pink  to  kissproof  and  permanent. 
Remember,  in  applying  your  lipstick,  don't 
let  its  edges  show,  the  faintest  film  of  pow- 
der wiped  off  will  make  the  lines  less  de- 
cisive and  will  keep  your  lips  from  looking 
greasy.  If  your  lipstick  has  a  drying  effect, 
use  a  little  cold  cream  underneath. 

The  make-up  which  brings  out  the  beauty 
of  the  eyes,  lashes  and  brows  is  perhaps 
the  most  difficult  to  achieve.  There  are 
many  simple  yet  effective  preparations  which 
come  in  compact  and  convenient  form  and 
it's  quite  worth  while  to  learn  the  trick  of 
using  them  in  a  way  to  make  the  brows 
and  lashes  more  effective  and  alluring. 
Eyebrow  pencils  are  obtainable  in  nearly 
all  shades. 

Train  the  lashes  and  brows  by  brushing 
the  upper  lashes  up  and  the  lower  ones 
down  with  a  bit  of  petroleum  jelly  or 
special  eyelash  grower. 

To  make  up  the  lashes,  apply  a  little 
cream  to  the  upper  and  lower  lids  with  the 
finger-tips,  and  run  the  pencil  just  above 
and  below  the  line  of  the  lashes,  then  blend 
the  pencilling  with  finger-tip  wrapped 
tightly  in  cotton. 

Before  retiring,  remove  eye  make-up 
with  cleansing  cream.  Use  a  cleansing 
wash,  then  mold  a  good  cream  around  the 
eyes,  smoothing  it  in  and  patting  gently. 
Look  up,  when  patting  beneath  the  eyes, 
and  close  the  eyes  when  you  press  the  cream 
on  the  lids.  At  night,  too,  is  a  good  time 
to  use  the  eye  exercises. 

I  hope  this  will  help  you  to  have  a 
happy  summer  and  if  it  does,  I  hope  you 
will  write  to  me  and  tell  me  so.  I  like 
your  letters,  girls,  both  the  letters  asking 
for  advice  on  beauty  problems  and  the  let- 
ters telling  me  I  have  helped,  and  I  have 
many  of  the  latter.  Letters  from  girls  tell- 
ing me  how  much  they  have  been  helped 
by  the  eye  treatments  and  exercises.  Let- 
ters from  girls  who  said  that  after  reading 
"A  New  Skin  Game"  they  had  gone  right 
to  work  to  acquire  a  nice  clear  skin  and 
had  actually  done  so.  Letters  from  girls 
worried  because  of  an  inferiority  complex 
or  because  they  were  not  popular,  and  from 
girls  who  have  become  engaged  and  want  to 
know  how  to  achieve  a  lasting  charm  and 
loveliness. 

To  all  these  problems  I  gave  my  best  and 
have  had  many  appreciative  letters  in  reply. 
I  want  to  thank  you  all  for  your  letters.  I 
am  glad  I  could  help  and  I  hope  you  will 
write  to  me  again.  I  will  gladly  help  you 
meet  your  problems  whatever  they  may  be. 
Address  Anne  Van  Alstyne,  45  West  45th 
Street,  New  York  City.  Please  enclose 
stamped,  self-addressed  envelope  for  reply. 


for   July    19  3  0 


109 


How  You . . .  Like  Hollywood's 
Stars . . .  Can  Create  J 
a  Vfondrous 

NEW  BEAUTY 

m     m  with 

Make-up 

In  Hundreds  of  Feature  Pictures,  You 
Have  Seen  the  Magic  of  Make-Up  by 
Max  Factor.  Now  You,  Yourself,  May 
Work  a  Beauty  Miracle  with  a  New 
Kind  of  Society  Make-  Up  Created  by 
Filmland 's  Make-  Up  Genius.   See  Coupon. 

I      \DLOR  Harmony  is  the  magic  artistry  to  accentuate  alluring 
beauty  in  a  new  kind  of  make-up  originated  by  Max  Factor, 
Hollywood's  Make-Up  King,  for  the  screen  stars  of  Hollywood 
.  .  .  and  you. 

This  new  idea  in  Society  Make-Up  ...  in  the  powder,  rouge, 
lipstick  and  other  requisites  important  to  your  everyday  beauty 
...  is  so  certain  in  beauty  results  that  in  all  Technicolor  Pictures, 
as  well  as  in  all  pictures  from  all  the  big  Hollywood  studios, 
Max  Factor's  Make-Up  is  beauty  insurance  in  wonderful  pro- 
ductions costing  millions. 

"True  enhancement  of  beauty  depends  upon  correct  color 
harmony  in  the  make-up  ensemble",  says  Max  Factor,  Genius  of 
Make-Up  in  Filmland.  "No  more  is  beauty  in  pictures  risked  to 
the  haphazard  selection  of  a  face  powder,  or  rouge  or  lipstick.  The 
complete  make-up  is  developed  in  perfect  color  harmony  to  blend 
with  the  colorings  of  the  individual,  whether  she  be  blonde, 
brunette,  redhead  or  brownette" 

Now  you,  and  everywoman,  may  share  this  priceless  beauty 
secret  discovered  by  Max  Factor  and  proved  perfect  by  the  host 
of  stars  in  Hollywood!  A  Society  Make-Up  ensemble  .  .  .  powder, 
rouge,  lipstick,  eyeshadow,  etc.  ...  so  perfect  in  color  harmony, 
in  texture,  in  velvety  smoothness  that  the  complete  make-up  blends 
perfectly  with  the  skin  texture  enhancing  natural  beauty  without 
visibly  revealing  make-up. 

Think  what  this  beauty  discovery  means  to  you  in  added  charm 
and  fascination.  Think  how  wonderful  it  will  be  to  have  your  own 
individual  color  harmony  in  Society  Make-Up  created  for  you  by 
Max  Factor,  Hollywood's  Make-Up  King,  just  as  though  you 
were  a  screen  star. 

Discover  now  what  Hollywood's  Make-Up  secret  will 
bring  to  you  personally  in  new  beauty.    Just  mail  coupon 
to  Max  Factor  for  your  complexion  analysis,  make-up 
color  harmony  chart  and  copy  of  his  book,  "The  New  Art 
of  Make- Up"  ...  a  gift  prized  by  the  famous  stars  of  film- 
land and  perhaps  the  most  important  you  may  ever  receive. 

MAX  FACTOR'S  Society  MAKE-UP 

"Cosmetics  of  the  Stars"*  HOLLYWOOD 

*  96%  of  all  malce-up  used  by  Hollywood's  Screen  Stars  and  Studios  is  Max  Factor's. 
{Lot  Angela  Chamber  of  Csmmeree  Statistics) 


BERNICE  CLAIRE, 
featured  in  First  National 
Technicolor  Pictures,  "No, 
No,  Nanette"  and  "Song 
of  the  Flame." 


by  Bert  LongwortTi 

DOROTHY  MACK  A  ILL, 

featured  in  First  National's  Techni- 
color Picture  "Bright  Lights"  and 
Max  Factor,  Hollywood's  Make-Up 
King  .  .  .  using  the  correct 
color  harmony  shade  in 
COi0d  Max  Factor's 

Lipstick. 


ALICE  WHITE, 
featured  in  First  Na- 
tional's Technicolor 
Picture  "Show  Girl 
of  Hollywood,"  says: 

"The  rest  of  the  •world 
•will  look  to  Holly  wood 
for  cosmetics  now  that 
you  are  offering  your 
•wonderful  Society 
Make-Up  to  ev 
•woman." 


V    MAIL  FOR  YOUR  COMPLEXION  ANALYSIS 

I  Mr.  Max  Factor — Max  Factor  Studios,  Hollywood,  Calif.  4'7'25 
j  Dear  Sir:  Send  me  a  complimentary  copy  of  your  48-page  book,  "The  New  Art 
I  of  Society  Make-Up",  personal  complexion  analysis  and  make-up  color  harmony 
!  chart.   I  enclose  10  cents  to  cover  cost 
I  of  postage  and  handling. 

I 

I  Name 

j  Address  _  

|G>  


COMPLEXION 

COLOfi  EYES 

LIPS 

Light 

Moist 

Fair 

COLOR  LASHES 

Dry 

Medium 

SKIN 

Rudd> 

COLOR  HAIR 

o„v 

Dark 

Dry 

Sallow 

AGE  | 

Normal 

Olive 

Answer  with  Check  Mark 

110 


SCREENLAND 


Tuning  in  on  Hollywood  Wedding  Bells  —  Continued  from  page  91 


"I  even  got  a  ticket  for  parking  wrong, 
and  they  told  me  that  if  I  got  a  few  more 
I  wouldn't  be  allowed  to  drive  in  at  all!" 

Lowell  Sherman  told  us  that  as  soon  as 
he  finishes  his  picture,  he  expects  to  go  to 
New  York  with  his  bride,  Helene  Costello, 
and  that  they  will  go  on  a  honeymoon  trip 
to  Europe  from  there. 

Ed  Lowe  said,  "Me,  too!"  But  we  told 
him  he  had  cried  "Wolf!"  too  often — we 
didn't  believe  he  would  ever  leave  Holly- 
wood. 

The  buffet  supper  was  excellent,  and  then 
a  lot  of  Joe  Cawthorn's  former  cronies  of 
the  stage,  Edmund  Breese,  Robert  Edeson 
and  others,  gathered  about  him  in  the 
dining  room  and  sang,  For  He's  a  Jolly 
Good  Fellow,  and  Joe  did  a  little  dance 
most  creditably;  after  which  he  cut  the  big 
birthday  cake. 

Then  there  was  some  delightful  entertain- 
ment, including  a  comic  recitation  by  Bert 
Wheeler  and  funny  stories  by  Robert 
Woolsey,  as  well  as  some  music,  with 
Edmund  Goulding,  during  the  musical  part 
of  the  entertainment,  giving  an  imitation 
of  a  Russian  family  singing,  him.self  giving 
each  part,  one  after  the  other. 

Adele  Rowland  sang,  with  her  husband, 
Conway  Tearle,  playing  for  her,  and  then 
Queenie  Cawthorn  surprised  us  by  going 
over  to  the  piano  and  singing,  while  her 
son,  Will  Kernel!,  played  for  her,  the 
theme  song  to  McCormack's  picture. 

Very  late,  guests  began  to  leave,  includ- 
ing Elsie  Janis  and  her  mother,  Mrs.  Janis 
telling  us  that  her  daughter  wouldn't  leave 
without  her,  but  she  wished  she  would. 

"However,"  she  sighed  comically,  "I'm 
a  perfectly  good  kept  mother,  so  I  suppose 
I  must  go!" 


Leila  Karnelly,  one  of  the  very 
good  reasons  for  going  Hollywood. 


Everybody — that  is,  all  the  feminine 
guests — kissed  Joe  Cawthorn,  including  Ina 
Claire  and  Grace  LaRue,  Louise  Dresser 
and  Helene  Costello  Sherman,  wishing  him 
many  happy  returns  of  the  day.  And  little 
Queenie  stood  up  gallantly  until  the  last 
guest  was  gone. 

"Somebody  should  get  up  a  book  of 
beautiful  brides  of  this  year!"  exclaimed 
Patsy.  "You  know  there  were  May  McAvoy 
and  Ruth  Roland  and  Mary  Eaton  and 
Patsy  Ruth  Miller  and  Carmel  Myers;  and 
now  here  this  lovely  little  Helene  Costello 
is  getting  married!" 

We  were  on  our  way  to  the  Beverly- 
Wilshire  Hotel,  where  Helene  and  Lowell 
Sherman  were  to  be  married. 

We  found  a  lot  of  guests  already  assem- 
bled in  the  drawing  room  off  the  beauti- 
ful Venetian  room — the  same  room  where 
Ruth  Roland  and  Ben  Bard  were  married. 
It  is  a  fairy-palace  sort  of  room,  which  is 
capable  of  being  transformed  at  once  from 
a  chapel  to  a  banquet  hall,  and  then  into 
a  ballroom  or  drawing  room,  all,  seemingly, 
at  one  wave  of  the  wand. 

Just  now  the  room  was  to  be  a  chapel, 
where  the  wedding  was  to  take  place,  but 
in  the  meantime  we  chatted  in  the  large 
drawing  room  with  a  lot  of  people  we  knew, 
including  Ina  Claire  and  Jack  Gilbert. 

"I  wonder,"  said  Ina  after  a  bit,  "if 
anybody  has  thought  to  call  up  Dolores!" 
And  she  dashed  off  to  do  it  that  minute. 

Jack  Barrymore  was  to  give  the  bride 
away,  but,  of  course,  Dolores  couldn't  be 
there  at  her  .sister's  wedding,  due  to  the 
imminence  of  the  stork. 

We  talked  to  Jack  Gilbert,  too,  and 
learned  that  he  is  feeling  hurt  about  some 
of  his  interviews  of  late,  which  is  the  reason 
he  isn't  giving  out  any  more.  Personally, 
I've  always  found  him  the  kindest,  most 
friendly  and  courteous  person. 

Estelle  Taylor  was  there,  but  her  hus- 
band, Jack  Dempsey,  was  in  Chicago,  so 
Estelle  had  arrived  with  Jeanie  MacPher- 
son  and  her  mother. 

Estelle  was  wearing  a  startling  dress.  It 
was  made  of  black  velvet,  cut  quite  high 
in  the  neck  in  front,  so  that  when  she 
turned  her  back,  that  was  when  one  got  a 
shock. 

For  the  dress  was  cut  clear  down  to  the 
waistline  in  the  back,  and  across  Estelle's 
back,  apparently  glued  to  her  skin,  were 
great  ornaments  of  rhinestone,  which 
reached  almost  up  to  her  shoulder  blades. 

As  we  were  chatting  with  her,  a  man 
came  and  peeped  around  at  her. 

"I  guess  he  wonders,  if  it  looks  like  that 
in  the  back,  what  it  looks  like  in  front," 
said  Estelle,  "and  he  probably  also  wants 
to  see  what  kind  of  a  face  goes  with  the 
back." 

We  caught  glimpses  of  many  other  guests, 
including  Charlie  Eyton  and  Kathlyn  Wil- 
liams, Olive  and  Alma  Tell,  Henry  Hobart, 
John  Davidson  and  many  others. 

We  were  called  to  the  Venetian  room 
for  the  ceremony,  and  found  the  room 
transformed  into  a  gorgeous  chapel,  with 
great  candles  on  the  altar,  and  flowers 
everywhere. 

"Oh,  there's  the  bride!"  whispered  Patsy. 

Sure  enough,  there  she  was,  coming 
down  the  aisle  on  the  arm  of  John  Barry- 
more,  and  there  was  Lowell  Sherman,  the 
groom,  looking  handsome  and  distinguished, 
of  course,  with  his  monocle  in  his  eye; 
and  we  wondered  if  anything  in  the  world 
could  make  him  lose  his  poise  and  drop  it. 


Bernice  Claire,  a  piquant  type, 
and  the  gem  of  musical  movies. 

Helene  was  wearing  a  little  Juliet  cap 
decorated  with  white  blossoms,  and  a  mar- 
velous white  lace  gown,  and,  of  course,  she 
carried  a  gorgeous  bouquet. 

Suddenly,  during  the  service,  we  saw  that 
Helene  was  weeping,  and  we  knew  why. 
It  was  because  she  was  thinking  of  the 
devoted  mother  whom  she  had  lost  such  a 
short  time  ago,  and  probably,  too,  of  her 
sister,  Dolores,  and  of  her  father,  Maurice 
Costello,  who  had  slipped  in  for  the  cere- 
mony. 

John  Davidson  told  us  that  Mrs.  Costello 
had  very  much  desired  the  marriage  between 
.Helene  and  Lowell. 

Evelyn  Brent  was  matron  of  honor,  and 
Charlie  Byers  was  best  man.  Right  after 
the  ceremony,  John  Barrymore  slipped  away 
home,  not  remaining  for  the  wedding 
supper. 

May  Murray  and  her  prince-husband, 
David  Mdvani,  were  there,  May  gay  and 
piquant  as  ever;  and  there  were  Lionel 
Barrymore,  Mr.  and  Mrs.  Tim  McCoy, 
Alice  Joyce,  Ralph  Kellar,  Mrs.  Leslie  Car- 
ter and  her  charming  daughter,  Mary  Payne; 
Louise  Dresser,  who  said  she  never  could 
imagine  missing  anyone  as  much  as  she 
misses  her  husband,  Jack  Gardner,  who  is 
in  the  east  on  business;  Darryl  Zanuck  and 
his  pretty  wife;  Millard  Webb  and  his  wife, 
Mary  Eaton;  Joseph  Cawthorn  and  his  wife; 
Mr.  and  Mrs.  Jack  Warner;  Lew  Cody, 
Doris  Lloyd,  Cliff  Wheeler;  Mr.  and  Mrs. 
Joe  E.  Brown,  Mr.  and  Mrs.  Edwin  Carewe; 
Virginia  Harned  and  her  husband,  William 
Courtney;  Mr.  and  Mrs.  John  Francis  Dil- 
lon, Laura  La  Plante  and  William  Seiter, 
Norman  Kerry,  Purnell  Pratt,  Mary  Quinn, 
Louise  Fazenda  and  Hal  Wallis,  Ethlyn 
Claire  and  Ernie  Westmore,  Mr.  and  Mrs. 
William  De  Mille  and  a  score  of  others. 

Larry  Gray  had  brought  pretty  little  Polly 
Garland;  and  we  sighted  another  romance 


for    July    2  9  3  0 


111 


"NOW. . . I  can  stand  the  Public  Gaze". . .  Can  You? 


s 


UMMER 


L  E  G  S y  9  +  *  * 

require  the  observance  of 
this  rule  of  refinement 


Bronzed  ...  or  white  .  .  .  lithe  feminine  legs  are  lovely 
only  when  they  are  free  of  fuzzy  hair-growth. 

Shapeliness  of  limbs  cannot  diminish  the  ugliness  of 
superfluous  hair.  The  informality  of  the  bareleg  vogue 
can't  excuse  it.  Gossamer  chiffon  hose  cannot  conceal  it. 
That's  why  dainty,  modern  women  turn  to  Del-a-tone 
Cream.  There's  nothing  else  like  it,  for  Del-a-tone  Cream, 
perfected  through  our  exclusive  formula,  is  the  only  white, 
fragrant  cream  hair-remover. 

Can  You  Stand  the  Public  Gaze? 

If  your  skin  is  smooth  and  free  of  hair — you 
can  meet  curious  eyes  with  poise  and  self- 
confidence.  Confirm  your  own  personal 
daintiness  by  using  Del-a-tone  before  going 
barelegged,  putting  on  sheer,  all-revealing  silk 
hose,  or  exposing  your  arms  in  a  fluttery 
evening  gown. 


June  Clyde  and  Arthur 
'Lake,  supported  by  a 
clever  chorus,  prove  how 
appropriate  is  the  title 
of  that  sparkling  Radio 
Picture,  "Tanned Legs" 


Faintly  fragrant... snow-white,  Del-a-tone 
Cream  removes  hair  safely 'in  3  minutes  or  less. 


ID  IE  L- A-TO  N  E 

The  Onlv  If  V*  it e  Cream  Hair-remover 


Del-a-tone  has  been  used  and  rec- 
ommended by  physicians  and  beauty- 
specialists  for  almost  a  quarter  of  a 
century. 

Sales  of  Del-a-tone  Cream  during 
1929  reached  a  record  volume — 
four  times  greater  than  any  previ- 
ous year.  Superiority;  that's  why-: 


Del-a-tone  Cream  and  Powder  on  sale  at 
drug  and  department  stores.  Or  sent  pre- 
paid in  U.  S.  in  plain  wrapper,  $1.  Money 
back  if  desired.  (Trial  tube,  10c.  See  coupon 
below.)  Address  Miss  Mildred  Hadley,  The 
Delatone  Co.  (Estab- 
lished 1908),  Dept.  147, 
233  E.  Ontario  Street, 
Chicago. 

Removal  of  under-arm  hai 
lessens  perspiration  odor 


TRIAL  OFFER 


Easy  to  use  a3  cold  cream  .  .  Del-a-tone  Cream 
is  the  most  pleasant  modern  way  to  remove 
superfluous  hair  from  the  legs  as  well  as  from 
under-arm,  fore-arm,  back  of  neck  and  face. 


Miss  Mildred  Hadley,  The  Delatone  Company 

Dept.  147,  Delatone  Bldg.,  233  E.  Ontario  Street,  Chicago,  111. 

Please  send  me  in  plain  wrapper  prepaid,  generous  trial  tube  of  Del-a-tone  Cream,  for  which  I 
enclose  10c. 


Name. 
Street. 


City. 


112 


SCREENLAND 


in  the  attention  that  Alan  Crosland  and 
Natalie  Moorhead  are  paying  each  other. 

After  the  ceremony,  we  withdrew  once 
more  to  the  drawing  room  where  we 
chatted  with  other  friends,  including  Mil- 
lard Webb  and  Mary  Eaton,  who  told  us 
how  she  had  worked  with  Lowell  Sherman 
when  she  was  a  child  actress  and  he  a  very 
young  stage  star,  in  "Alias  Jimmy  Valen- 
tine," and  how  she  had  been  the  child 
who  was  shut  up  in  the  safe,  while  her 
sister  Doris  had  played  the  other  youngster 
in  the  play. 

We  found  Mrs.  Leslie  Carter  just  as 
amazingly  fascinating  as  ever,  and  dis- 
covered in  her  adopted  daughter,  Mary 
Payne,  a  lovely  young  girl  who  had  thought, 
this  being  her  first  weddng,  that  she  ought 
to  wear  white  because  the  bride  did! 

Mary  Eaton  said  that  she  and  her  hus- 
band, the  director,  Millard  Webb,  are 
having  such  a  grand  time  furnishing  their 
new  home  that  they  may  not  go  abroad 
after  all.  And  then  Millard  chimed  in 
to  tell  us  what  a  great  little  housewife  Mary 
is,  and  what  a  good  bargainer  for  furniture. 

"Mary  will  look  at  a  piece  of  furniture, 
and  then  say,  'No  sir,  that's  too  expensive!' 
exclaimed  her  husband.  "And  she  knows  all 
about  furnishings;  you  can't  fool  her  a  bit!" 

Mary  Carewe  is  looking  very  pretty  and 
happy  these  days,  and  she  told  us  that 
she  had  already  forgotten  how  unhappy  she 
had  been,  meaning  when  she  was  separated 
from  her  husband,  to  whom  she  was  lately 
reconciled. 

We  chatted  with  the  bride  and  groom, 
too,  and  Helene  told  us  how  she  had 
dreamed  the  night  before  that  she  was  dres- 
sed for  the  wedding,  except  that,  glancing 
down  at  her  feet,  she  discovered  she  was 
wearing  black  shoes  and  stockings. 

We  went  into  the  Venetian  room,  again 
transformed,  this  time  into  a  gorgeous  ban- 
quet hall,  with  flowers  everywhere  on  the 
bright  table,  which  was  in  form  of  a  horse- 
shoe, with  a  huge  wedding  cake  up  at  the 
center,  in  the  horseshoe  s  circle. 

Louise  Fazenda  and  Hal  Wallis  sat  next 
to  John  Davidson  and  me  at  the  supper 
table,  and  we  found  that  Hal  and  Louise 
were  holding  hands  under  the  table  like 
two  lovers,  and  not  a  bit  ashamed  of  it 
either. 

"Every  wedding  is  an  anniversary  for 
us!"  Hal  explained  with  a  charming  smile 
at  his  wife.  Whereupon,  Louise  vamped 
him  with  a  smile. 

"There's  a  girl  that  has  It,"  exclaimed 


One  of  the  Dodge  twins.  Can  you 
guess  which  one?   It's  Betty. 


John,  "even  if  she  does  do  funny  falls  in 
pictures!" 

We  heard  laughter  from  the  floor  all  at 
once  and  turned  to  behold  the  dancers 
circling  about  a  couple  on  the  floor.  •  The 
couple  were  Lowell  Sherman  and  a  hand- 
some, gray-haired  lady  whom  we  didn't 
know.  They  were  engaged  in  doing  an 
Irish  folk  dance,  stepping  apart,  then  for- 
ward to  clasp  hands,  and  away  from  each 
other  again,  while  the  other  dancers,  hand 
in   hand,   circled   around  them. 

"Oh,  that's  Lowell's  mother,"  somebody 
explained  to  us. 

We  caught  Louise  wrapping  up  a  piece 
of  wedding  cake — the  bride  had  cut  it  very 
gracefully,  and  it  had  been  passed  about 
just  before — and  she  told  us  she  was  taking 
it  home  to  the  neighbors'  children. 

"But  I  may  dream  on  a  bit  of  it  myself, 
too!"  said  Louise  to  tease  her  husband. 

"If  you  do,"  he  retorted,  "I  hope  you 
dream  of  a  Sennett  cop!" 

"I  don't  know  when,"  confided  Patsy,  as 
we  drove  home,  "I've  seen  so  much  fun 
mixed  at  the  same  time  with  so  much 
grandeur!" 

"Still  another  wedding!"  exclaimed 
Patsy,  as  she  prepared  to  open  an  imposing- 
looking  envelope. 

"Not  just  another  wedding,"  I  retorted. 
"A  very  wonderful  wedding — that  of 
Cecelia  De  Mille,  daughter  of  Cecil  B.  De 
Mille,  to  Francis  Calvin,  a  business  man, 
who  is  quite  handsome  enough  to  be  a 
picture  star." 

Despite  the  fact  that  it  was  raining  at  a 
terrible  rate,  a  huge  crowd  gathered  in  the 
church  where  the  wedding  was  to  be  held. 

We  decided  anyway,  that  the  storm  out- 
side only  made  it  cosier  and  lovelier  inside. 

The  ceremony  over,  we  all  hurried  up  to 
Cecil  B.  De  Mille's  handsome  home  on  the 
very  top  of  a  Hollywood  hill,  and  found 
people  already  there  ahead  of  us,  including, 
of  course,  the  bride  and  groom,  with  the 
pretty  bride  lined  up  with  her  bridesmaids 
receiving,  along  with  the  bridegroom. 

One  of  the  first  people  we  met  was  Bessie 
Love,  who  so  short  a  time  ago  was  a  bride 
herself,  and  we  said  hello,  too,  to  her  hus- 
band, William  Hawks,  and  Patsy  remarked 
to  me  in  a  whisper  when  they  had  left  us, 
how  very,  very  much  in  love  with  each 
other  they  seemed. 

Surrounded  by  guests,  we  discovered  Cecil 
De  Mille  shaking  hands  with  his  friends, 
and  he  told  us  how  this  was  the  first  time 
he  had  lost  a  daughter  in  marriage,  and 
how  he  was  going  to  miss  her,  as  the  two 
are  pals. 

We  found  that  Cecelia  and  her  husband 
weren't  planning  a  very  long  honeymoon 
trip,  as  the  Horse  Show  was  to  be  on 
shortly,  and  Cecelia,  having  a  thoroughbred 
or  two  in  the  show,  just  wouldn't  miss  it 
for  anything! 

Norma  Shearer  was  there  with  Irving 
Thalberg,  her  husband,  Norma  looking 
lovely  in  a  flowered  chiffon  and  wide,  floppy 
hat,  even  if  it  was  raining  out-doors. 

"I  bought  these  clothes  on  a  warm,  sun- 
shiny day,"  Norma  told  us,  "and  I  was 
bound  I  was  going  to  wear  them,  let  happen 
what  may.  But  Irving  told  me  I  had  bet- 
ter not  sit  on  the  aisle  in  church  for  fear 
they'd  mistake  me  for  a  bridal  attendant 
and  drag  me  off  to  the  altar." 

Norma,  we  hear,  is  awaiting  the  coming 
of  the  stork,  and  may,  indeed,  retire  per- 
manently from  the  screen. 

"I  think,"  whispered  Patsy,  "that  it  is  a 
lovely  omen  for  Cecelia — there  being  so  many 
happily  married  young  women  here  today." 

H.  B.  Warner  and  his  wife  were  among 
the  guests,  as  was  also  Elsie  Janis,  but  Elsie 


Beatrice    Blinn    from    the  stage 
now  lends  her  charm  to  talking 
pictures. 


withdrew  herself  into  one  of  the  bedrooms, 
where  she  said  a  brief  hello  to  people,  but 
apparently  was  lost  in  thought — figuring 
out  a  story,  maybe. 

We  greeted  Winifred  Kingston,  widow 
of  the  late  Dustin  Farnum,  who  has  returned 
to  Hollywood,  and  who  is  looking  charming. 
She  said  that  her  little  daughter  is  well,  and 
hinted  it  was  possible  the  child  might  want 
to  follow  in  the  footsteps  of  her  dad  and 
mother  and  go  into  pictures. 

Vilma  Banky  was  there  with  Rod  La- 
Rocque.  We  hadn't  seen  her  in  a  long 
time,  but  understand  that  she  has  been  busy 
overcoming  linguistic  difficulties,  in  order 
to  keep  on  with  her  picture  work. 

Leatrice  Joy  brought  her  little  daughter, 
Leatrice  II.,  and  we  learned  that  it  was  the 
first  wedding  little  Leatrice  had  ever  at- 
tended, and  she  was  so  excited  she  was  all 
over  the  place.  She  had,  her  mother  said, 
been  playing  wedding  with  her  dolls  all 
morning,  dolling  them  up  in  bridal  clothes. 
The  last  we  saw  of  her,  she  was  being  the 
thrilled  recipient  of  a  big  bouquet  which 
one  of  the  bridesmaids  bestowed  upon  her, 
and  which  quite  hid  her  tiny  body  behind 
the  flowers  she  carried,  so  that  her  burden 
looked  like  an  animated  bouquet  as  she 
trotted  away  with  it. 

Louis  B.  Mayer  and  his  wife  and  daugh- 
ters were  there;  and  the  remainder  of  the 
list  contained  all  the  other  famous  names 
you  ever  heard  of,  including  Jesse  L.  Lasky, 
Basil  Rathbone  and  Ouida  Bergere,  Elise 
Bartlett  and  Arthur  Richman — who,  by  the 
way,  are  seen  about  a  good  deal  together — 
Martha  Sleeper,  Mr.  and  Mrs.  Conrad 
Nagel,  Jeanie  MacPherson  and  her  mother, 
Mitchell  Lyson  and  his  lovely  wife,  Stella 
Seegar,  Reginald  Denny  and  his  wife,  Reg 
wearing  a  mustache  for  "Madame  Satan," 
and  which,  he  declares,  is  "coming  on,  hair 
by  hair";  Carl  Laemmle,  Jr.,  Mr.  and  Mrs. 
Harry  Rapf,  Fay  Wray  and  her  husband, 
John  Monk  Saunders;  and  a  score  of  others, 
including  many  noted  society  people. 

Finally,  the  crush  grew  so  great,  follow- 
ing the  serving  of  the  wedding  breakfast, 
that  the  bride  and  groom  got  separated,  and 
the  bridegroom  went  about  disconsolately 
looking  for  her.  But  I  believe  he  found 
her,  as  I  read  the  next  morning  that  they 
had  gone  away  on  their  wedding  trip. 

"The  bridegroom  is  awfully  handsome, 
and  fine  looking  besides,  which  is  more, 
and  I  should  think  that  she  might  safely 
leave  even  her  lovely  dad  for  him,"  Patsy 
observed  as  we  drove  homeward. 


for    July    19  3  0 


113 


oZ/O  /OIL 

Cbn$  clout  cJ/ic/e 
Qout  cJ/andjbcMjf  ot 


71 


watch  the  women  who  enjoy  the  "Turse  'Personality"  of 


AT  YOUR  club  meeting— or  an 
/l  afternoon  of  bridge.  Notice 
how  your  friends  treat  their  purses 
— laying  them  aside  proudly  dis- 
played, or  quickly  hiding  them  from 
critical  eyes  (out  of  sight — out  of 
mind) .  Now  pay  careful  attention 
to  the  well-groomed,  smartly-clad 
woman  who  wears  a  Meeker-Made 
handbag  or  underarm.  She  has  come 
to  realize  that  her  purse  is  just  as 
important  as  her  shoes . . .  that  beau- 
tiful hands  seem  even  more  beauti- 
ful when  framed  on  the  colorful 
imported  leathers  of  Meeker . . .  that, 


IT 

after  all,  a  purse  must  possess  indi- 
viduality .  .  .  purse  personality.  And 
that  is  why  she  is  confident,  at  ease 
. . .  knowing  every  important  detail 
of  dress  is  attractively  correct. 

There  are  many  delightful  surprises 


awaiting  you  in  the  smartly-tailored 
Meeker-Made  summer  and  fall  de- 
signs .  .  .  soft  black  and  tan-toned 
handbags  and  underarms  in  strik- 
ingly colored  frames  and  trims.  And 
remember,  always,  that  Meeker- 
Made  products  which  include  men's 
billfolds,  key  cases,  cigarette  cases 
and  lighters,  grow  softer  and  even 
more  beautiful  with  age  with  the 
use  of  only  fine,  imported  steerhides. 

At  your  Jeweler's,  the  better  De- 
partment and  Drug  Stores,  and  at 
leading  Leather  Goods  Dealers. 


THE    MEEKER    COMPANY,    INC.,  Joplin,  Missouri 

Largest  ^Manufacturer  of  Steerbide  "Products 
in  the  United  States 


114 

War 

American  shell  in  the  war;  Lieutenant  R. 
Z.  Laszle,  who  brought  down  18  enemy 
planes,  when  battling  with  Hungarian  forces 
against  Russians  and  Serbs;  Lieutenant 
Hans  Fuerberg,  an  attache  of  headquarters 
staff  the  night  the  Kaiser  fled  to  exile;  and 
Fred  Coppins,  a  gallant  Canadian,  wearer 
of  that  coveted  order,  the  Victoria  Cross, 
bestowed  for  having  put  three  German 
machine-gun  nests  out  of  commission  single- 
handed. 

"Journey's  End"  is  also  played  mainly 
by  youngsters,  though  Anthony  Bushell 
tells  a  tale  of  his  German  governess  who 
was  arrested  as  a  spy  shortly  after  the 
war's  outbreak. 

"Funny  thing  was,  that  she  always  dis- 
couraged my  brother  and  me  when  we'd 
play  war  and  pretend  one  was  English 
and  the  other  German,"  remembers  Tony. 
"She'd  say:  'No,  no!  England  and  Germany 
are  brothers.    They  cannot  fight,  \inder.'  " 

James  Whale,  director  of  this  powerful 
drama,  was  a  German  prisoner  for  a  year 
and  a  half. 

Whale  was  captured  by  a  German  raiding 
party  at  Ypres  in  August,  1917,  after  ma- 
chine gun  fire  had  mowed  down  two  com- 
panies with  whom  he  was  serving  as 
assistant  staff  captain. 

When  the  Germans  had  failed  to  secure 
information  from  him,  the  prisoner  was 
lodged  at  Holzminden,  in  the  heart  of 
the  German  mountains,  with  1400  other 
British  officers. 

"The  yard  was  so  small  that  walking 
in  circles  was  the  only  passible  exercise, 
and  we  should  have  gone  mad  if  we  hadn't 
conceived  the  idea  of  putting  on  plays," 
relates  Whale.  "Every  show  we  gave  was 
written  by  someone  in  camp;  the  cast  was 
chosen  by  debate;  if  a  sketch  was  success- 
ful it  had  to  be  done  every  night  for  a 
week,  because  the  dining  room,  which  had 
a  normal  capacity  of  75,  wouldn't  hold 
over  300. 

"The  favorite  theme  was  satire  on  pack- 
ages well  meaning  friends  sent  by  way  of 
the  Red  Cross.  A  revue  called  'Parcels' 
ran  for  12  nights,  props  being  such  laugh- 
getters  as  perfume,  lipstick,  sardines,  eye- 
lash growers.  The  things  were  actually 
sent  us.  Good  spirits  behind  'em  was  ap- 
parent, but  oh,  the  lack  of  good  sense!" 

Strange  and  inexplicable  was  the  experi- 
ence of  Walter  Byron.  During  the  last 
year  of  the  war,  Walter,  who  was  14  but 
so  tall  that  he  passed  for  18,  was  put  on 
guard  duty  at  Dover  Castle.  Dover  Castle 
is  a  venerable  place  of  dungeons,  turrets 
and  secret  passages  with  several  well- 
authenticated  ghosts. 

One  stormy  night,  Walter,  whose  duty 
it  was  to  escort  the  relief  guard  to  a  tower, 
started  up  a  winding  staircase  with  his 
soldiers.  They  had  to  pass  through  several 
doors,  locking  each  iron  barrier  behind  them. 

Halfway  up,  the  escorted  soldier  stopped. 
Something,  he  declared,  was  jolly  well  wrong 
and  he  wouldn't  go  another  step.  Ever 
since  they  had  mounted  the  first  stair, 
Walter  had  felt  his  scalp  prickle  and 
sensed  that  all  was  not  as  it  should  be; 
but  as  superior  officer,  he  scoffed  at  fear 
and  forced  the  other  on. 

As  they  neared  the  tower,  a  bloodcurd- 
ling shriek  rent  the  silence.  They  rushed 
forward  to  find  the  guard  on  duty  cow- 
ering in  a  corner — a  raving  maniac.  No 
other  living  thing  was  to  be  seen,  so,  after 
a  hasty  search,  the  boy  officer  sped  down 
the  stair  in  pursuit  of  the  wretch  that  had 
terrified  the  guard.     When  within  twenty 


Memories  —  Continued  from 


Lupe  Velez  and  muffled  cameras 
on  location  at  Truckee,  California, 
for  "The  Storm." 


feet  of  the  first  iron  door  he  had  so  care- 
fully locked,  he  saw  that  door  slowly  clos- 
ing and  what  appeared  to  be  a  black  cloak 
slipping  through  it.  When  he  reached  the 
door,  however,  the  lock  held. 

No  trace  of  the  intruder  was  ever  found. 

Reginald  Denny  says  that  airplanes 
weren't  what  they  are  now  when  he  was 
in  the  Royal  Flying  Corps. 

"On  one  of  my  first  flights  I  came  down 
rather  raggedly.  Neither  the  plane  nor 
myself  were  hurt,  but  we  plowed  up  the 
ground  a  bit.  Two  British  infantrymen 
watched  me  crawl  out. 

"  'What's  that?'  asked  one. 

"  'One  of  His  Majesty's  Royal  Flyin' 
Trench  Diggers,'  replied  the  other." 

Perhaps  of  all  our  veterans,  Ivan  Lebedeff 
had  had  the  most  hair  raising  adventures. 
Among  them,  is  the  following: 

The  city  of  Odessa  had  been  taken  by 
the  Bolshevists  and  Russian  aristocrats  were 


Joe    Cook    is    making    "Rain  or 
Shine"  for  the  talkers.    We  hope 
he  includes  in  it  his  imitation  of 
the  four  Hawaiians. 


SCREENLAND 


page  53 

hunted  through  the  streets.  Ivan  was  a 
fugitive,  as  a  Russian  officer  of  high  rank 
and  after  several  narrow  escapes  was  ar- 
rested and  thrown  into  prison  in  what  had 
formerly  been  the  house  of  Jdanow  in  the 
Square  of  Catherine  the  Great. 

Thirty  other  prisoners  were  in  the  room 
on  the  third  floor  where  Ivan  was  held 
captive,  among  them  a  boy  of  19,  who  lay 
in  a  corner  sobbing.  His  hysterical  weep- 
ing continued  for  three  hours,  until  the 
door  of  the  room  opened  and  the  com- 
mander of  the  prison  entered,  accompanied 
by  an  orderly  with  a  rifle. 

The  boy  threw  himself  at  the  commander's 
feet,  protesting  that  he  had  done  nothing 
and  was  the  sole  support  of  his  mother  and 
sister,  but  the  commander  jeered  at  him, 
saying  that  all  too-  soon  he  would  leave  the 
prison  by  way  of  a  firing  squad.  When 
the  boy  burst  into  tears  again  and  prayed 
for  mercy,  the  commander  kicked  him. 

Ivan  saw  red,  crossed  the  room  in  a 
fury  and  gave  the  commander  a  blow  in 
the  jaw  that  sent  him  likewise  crashing 
through  the  open  door.  Then  the  young 
Russian  seized  the  orderly's  rifle,  and  sent 
him  after  the  commander  and  slammed  the 
door. 

Instantly  the  corridor  was  alive  with 
Bolshevists.  Orders,  threats,  oaths  suc- 
ceeded one  another.  "Come  out,  or  we 
will  bring  a  machine  gun  and  mow  you  all 
down!" 

At  this,  the  prisoners  rose  in  terror  and 
demanded  that  Ivan  give  himself  up.  There 
was  no  choice.  Ivan  called  out:  "Do  not 
touch  me!  I  have  a  rifle!"  and  received 
word:  "Go  to  the  room  across  the  hall." 

He  thought  that  they  would  shoot  him 
down  when  he  emerged,  but  to  his  surprise 
they  let  him  pass  across  the  hall,  then 
crept  up  and  locked  him  in.  All  day  he 
sat  on  the  floor  of  the  little  bare  room, 
expecting  death,  but  no'  one  came  near. 

At  dusk,  the  sound  of  a  motor  truck 
engine  began  in  the  courtyard  below.  The 
Bolshevists  always  ran  that  engine  to  cover 
the  sound  of  shots  when  executions  were 
going  on  in  the  cellar  across  the  way. 
From  his  window,  Ivan  could  see  a  file  of 
prisoners  being  herded  into  the  fatal  cellar 
and  knew  that  his  time  was  at  hand. 

He  looked  about,  desperately.  Twelve 
feet  from  his  window,  on  an  angle,  was 
the  flat  roof  of  an  adjoining  house,  beyond 
which,  he  knew,  was  a  garden  with  an 
outlet  on  another  street  from  which  he 
could  reach  the  port  and  safety. 

He  removed  the  window,  but  the  opening 
was  so  small  he  had  to  leap  from  a  crouch. 
He  caught  the  roof  with  his  left  hand  but 
missed  with  his  right,  tearing  off  the  nails 
of  two  fingers.  A  shout  from  below  told 
him  he  was  seen  and  with  a  supreme  effort 
he  reached  the  roof  and  dashed  across  it, 
shots  whistling  about  his  ears,  leaped  into 
the  dimly  seen  branches  of  a  tree  and  slip- 
ped on  down  to  safety. 

Among  those  who  didn't  get  over  into 
the  thick  of  it  are  Conrad  Nagle,  who  was 
an  ensign  in  the  navy;  and  Lewis  Stone, 
a  veteran  of  the  Spanish-American  war,  who 
was  made  an  instructor  in  a  big  training 
camp.  Their  World  War  experience  con- 
sisted in  wild  efforts  to  get  over-seas. 

Buster  Keaton,  who  was  under  fire  in 
many  of  the  great  American  battles  and 
spent  months  in  front  line  trenches,  en- 
listed as  a  private  and  came  out  a  sergeant 
major,  but  insists  that  his  chief  achieve- 
ment was  that  he  peeled  the  potatoes  for 
the  entire  army. 


for    July    19  30 


115 


While  William  Wellman,  ace  director 
for  Paramount,  was  in  training  in  aviation, 
he  cracked  up  three  planes,  escaping  in' 
jury  each  time.  The  first  American  to 
join  the  Lafayette  Escadrille,  he  hung  up 
a  record  for  dare-deviltry,  was  credited 
officially  with  seven  aerial  victories  and 
finally  got  the  'thousandth"  anti-aircraft 
shell  (they  say  only  one  in  a  thousand 
reaches  its  mark)  and  came  down  with  a 
broken  back. 

Before  this,  though,  Fate  was  on  his  side 
when  he  was  flying  low  over  the  German 
lines  to  deliver  bundles  of  President  Wil- 
son's peace  messages  and  his  engine  went 
dead.  By  a  miracle  he  succeeded  in  glid- 
ing his  plane  over  the  French  lines  and 
crashing  unhurt  into  a  shell  hole. 

It's  nice  to  know  that  the  brave  and 
gallant  on  the  screen  were  really  just  like 
that  in  the  red  rage  of  war! 
~>  4- 

The  Stage  in  Review 

(Continued  from  page  93) 

twinkle,  tinkle  and,  as  far  as  his  latest  play, 
"Hotel  Universe,"  goes,  very  much  on  the 
blinkle. 

The  Theater  Guild  (with  its  tongue  in 
its  cheek,  evidently)  has  produced  this  play 
of  pseudo-mystical  cynicism  and  Pollyannish 
Redemption  beyond  time  and  space  on  a 
gorgeous  Lee  Simonson  background  which 
is  'near  Toulon." 

A  raft  of  tired  souls,  loaded  to  the  top- 
most skull-wen  with  ennui,  world-sorrow 
and  what  have  you? — sit  around  and  spin 
tinkling-winkling  epigrams,  exhibit  their  psy- 
cho-libido subways  a  la  James  Joyce,  go 
over  their  past  loves  through  the  door  of 
Sir  James  Barrie's  "Mary  Rose,"  and  other- 
wise disport  themselves  on  the  Edge  of 
the  Precipice  of  the  Timeless — to  the  cough- 
ings,  gigglings  and  squirmings  of  the  audi- 
ence (there  is  no  intermission  in  this  strange 
interlude  in  the  sanity  of  the  Guild's  usual 
work).  In  a  word,  "Hotel  Universe"  is 
thin,  mystical  mush. 

Of  course,  it  is  done  well,  with  Ruth 
Gordon,  as  a  cynical  little  girl  who  Sees 
the  Light  at  10:45  P.M.,  carrying  off  the 
honors  of  the  cosmic  show.  Glenn  Anders, 
Katherine  Alexander,  Phyllis  Povah  and 
Morris  Carnovsky  were  other  first  aids  to 
this  lamentable  concoction  out  of  O'Neill- 
Joyce-Barrie. 

"Jonica" 

Miss  Heyward  and  Moses  Hart  do  not, 
in  "Jonica,"  give  us  another  "Sweet  Ade- 
line," but  they  contrive  to  amuse,  and  some- 
times startle,  the  audience  with  three  hours 
of  frisky  horseplay  and  bellowing  melo- 
dramatics. 

The  music  by  Joseph  Meyer  will  not  cause 
old  man  Beethoven  to  paste  his  laurels 
tighter  over  his  brow. 

It  starts  off  in  a  convent — rather  unusual 
for  a  Broadway  musical  kick-up.  Then  we 
get  into  a  Pullman  scrape  that  involves  dia- 
monds, upper  and  lower  berths  and  one 
very  odoriferous  joke. 

After  that  we  are  naturally  in  a  Con- 
necticut country  necking-house  after  passing 
through  a  wild  New  York  arty  party.  You 
are  not  supposed  to  follow  the  story  very 
closely,  and  it  won't  follow  you  after  you 
get  out  of  the  theater. 

Nell  Roy  as  Jonica  was  neat,  pert  and 
graceful.  Joyce  Barbour  as  Fanny  is  beau- 
tiful to  behold  even  if  her  wise-cracking  is 
too  superiorly  self-conscious.  The  rest  of 
the  long  cast  was  what  I  would  call 
'adequate.' 

"Jonica"  will  make  a  swifter  picture  than 
it  does  a  musical  play. 


Why  85%  of 

America's  leading  hospitals 
use  Kotex  absorbent 

Because  of  its  comfort  and  hygienic  value,  Kotex  ab- 
sorbent is  used  today  by  85%  of  our  great  hospitals. 


IF  you  are  one  of  the  millions  of  women  who 
prefer  Kotex  because  of  its  marvelous  comfort 
and  convenience,  you'll  be  delighted  to  know  hos- 
pitals approve  it  from  the  health  standpoint,  too. 
More  than  that — 85%  of  all  the  leading  hospitals 
of  the  United  States  actually  use  Kotex  absorbent 
in  their  hospital  work! 

Please  note  the  list  of  hospitals  at  the  right.  Fa- 
mous hospitals  .  .  .  where  patients  receive  the  finest 
care  that  medical  science  can  offer.  These  hospitals 
select  Kotex  .  .  .  just  as  you  do  .  .  .  for  the  comfort 
it  assures.  But  they  have  another  reason,  too  .  .  . 
they  know  its  hygienic  value. 

Why  Kotex  is  more  hygienic 
Kotex  is  made  of  a  remarkable  absorbent,  known 
as  Cellucotton  (not  cotton)  absorbent  wadding. 
Cellucotton  is  five  times  more  absorbent  than  the 
finest  surgical  cotton.  It  absorbs  away 
from  the  surface,  leaving  the  surface 
soft  and  delicate. 

Kotex  is  made  of  layer  on  filmy  layer 
of  this  wonderful  Cellucotton.  These 
layers  permit  circulation  of  air  and  keep 
Kotex  light  and  cool. 

Kotex  has  many  other  advantages 
which  dainty  women  know  and  like. 
Corners  are  rounded  and  tapered  so  the 
pad  is  always  inconspicuous.  Kotex  de- 
odorizes, thus  removing  another  source 
of  embarrassment.  And  Kotex  is  dis- 
posable .  .  .  there's  no  laundry,  fuss  or 
embarrassment. 


These  Famous  Hospitals 
are  only  a  few  of  the  hun- 
dreds that  use  Kotex  Pads: 

CHICAGO  MEMORIAL 

HOSPITAL  of  Chicago 

PENNSYLVANIA  HOSPITAL 

of  Philadelphia 

LENOX  HILL  HOSPITAL 

of  New  York  City 

UNIVERSITY  HOSPITAL 

of  Baltimore 

MT.  SINAI  HOSPITAL 

of  Milwaukee 

CENTRAL  DISPENSARY  AND 
EMERGENCY  HOSPITAL 

of  Washington,  D.  C. 

BAPTIST  HOSPITAL 

of  Houston,  Texas 


KOTEX  IS  SOFT... 

1  Not  a  deceptive  softness,  that  soon 
packs  into  chafing  hardness.  But  a  deli- 
cate, fleecy  softness  that  lasts  for  hours. 

2  Safe,  secure  .  .  .  Keeps  your  mind  at 
ease. 

3  Rounded  and  tapered  corners— 
for  inconspicuous  protection. 

Deodorizes,  safely,  thoroughly,  by  a 
special  process. 

Disposable,  completely,  instantly. 


4 


K  O  T  e  X 

The  New  Sanitary  Pad  which  deodorizes 


Regular  Kotex— 45c  for  12 
Kotex  Super-Size— 65c  for  12 
Or  singly  in  vending  cabinets  through 
West  Disinfecting  Co. 

Ask  to  see  the  KOTEX  BELT  and 
KOTEX  SANITARY  APRON  at  any 
drug,  dry  goods  or  department  srore. 


116 


SCREENLAND 


Garbo — "Romance"  —  Continued  from  page  34 


Are  there  any  unusual  shots  in  the  pic- 
ture, Mr.  Brown? 

"Yes,  there  are.  The  way  the  story  is 
told,  in  fact,  is,  I  believe,  something  new 
We  have  the  picture  of  an  old  bishop  who 
would  advise  his  young  grandson  on  affairs 
of  the  heart,  and  as  the  undercurrent  melody 
of  Last  Rose  of  Summer  is  heard 
while  the  raucous  crowds  of  a 
New  Year's  Eve  are  heard  out- 
side, he  remembers  the  tender 
romance  of  long  ago.  And  as  he 
remembers,  through  a  looking 
glass  above  the  mantel  is  seen  an 
old-fashioned  ball.  The  figure  of 
the  bishop  gets  smaller  as  this 
scene  in  the  mirror  gets  larger, 
while  the  sound  of  an  old-fash- 
ioned polka  becomes  louder  and 
louder,  until  the  scene  in  the 
mirror  takes  up  the  entire  screen 
and  the  figure  of  the  bishop  fades 
out.  This  is  a  new  use  of  sound 
and  pictures  to  get  such  an  effect, 
I  believe.  It  ends  in  much  the 
same  way." 

Hmmmmmmmm!  And  Garbo's 
accent,    we    suddenly  remember? 

"It  is  a  manufactured  accent, 
one  that  she  has  had  to  adopt 
for  this  picture.  In  some  scenes 
she  speaks  in  pure  Italian.  Miss 
Garbo  is  .somewhat  of  a  linguist, 
you  know.  She  speaks  fluent 
German,  Swedish,  Italian,  of 
course,  English  now,  and  some 
French.  She  does  not  sing'  in 
the  picture,  nor  is  a  double  used 
for  her.  The  only  singing  done, 
in  fact,  is  off-stage — a  voice  is 
heard  in  an  operatic  role  which 
tells  the  young  clergyman  the  true 
identity  of  the  woman  he  loves. 

"We  are   following   the'  stage 
play  quite  closely  as  we  did  in 
'Anna   Christie'    and   all   of  the 
shots  are  made  indoors.  I  have  al- 
ways believed  in  treating  a  moving  picture 
much  as  a  stage  play  and  rehearse  and  shoot 
the  scenes  as  acts  in  sequence.    Even  during 
the  days  of  silent  pictures  I  did  this.  Of 


course,  in  'Anna  Christie,'  we  had  some 
very  long  scenes  which  Garbo  practically 
carried  by  herself.  In  'Romance'  the  scenes 
are  much  shorter  as  they  are  rehearsed  and 
shot.  There  are  only  three  important  char- 
acters in  the  play:  Garbo,  Gordon  and 
Lewis  Stone.  The  others  are  just  bits.  And 


They   call    her    Greater    Garbo    since  the 
Swedish  sphinx  has  spoken.  See  her  next  in 
"Romance"  and  read  about  it  here. 


many  extras.  In  one  scene  alone  we  used 
over  two  hundred." 

Does  Garbo  rise  to  the  emotional  heights 
in  this  picture  as  in  "Anna  Christie?" 


"Yes,  indeed.  And  it  is  somewhat  the 
same  scene  where  she  must  admit  to  the 
young  clergyman  that  she  has  had  one  lover 
for  years  (played  by  Lewis  Stone,  who  is 
splendid).  It  is  a  picture  charged  with 
emotion,  with  a  faint  aroma  of  wistful  sad- 
ness. Not  a  happy  ending,  yet  an  ending 
that  is  supremely  right  for  the  pic- 
ture and  not  at  all  tragic." 

Then  Garbo  is  again  more  of  the 
type  which  her  fans  have  come  to 
expect,  we   can't  help  grinning! 

"Yes.  And  it  seems  a  shame 
to  type  so  splendid  an  actress. 
When  Nazimova  came  here,  her 
audiences  accepted  her  in  Ibsen 
roles,  dramatic,  even  sordid  roles. 
Garbo  should  do  the  same.  True, 
she  has  a  different  setting  from 
anything  she  has  done  and  the 
story  is  exquisite.  A  play  that 
made  an  international  star  of 
Doris  Keane,  some  fifteen  years 
ago." 

And  her  voice,  we  mumble — 
Garbo's   voice.     Will  it  be  the 

same? 

"No.  Not  nearly  as  husky, 
nor  as  low.  For  in  'Anna  Chris- 
tie' Miss  Garbo  was  working 
against  odds,  suffering  from  throat 
trouble.  Now  her  register  is 
somewhat  higher." 

Whoops,  my  dear!  Can  you 
wait? 

Here  comes  Garbo  again.  The 
lights  go  on,  big,  gaudy,  brilliant 
lights.  See,  she  sits  in  the  little 
low  chair,  how  tenderly  Gordon 
assists  her — ooooooooooh! 

We  are  in  outer  darkness  again, 
with  just  a  glimpse  of  "Romance." 

So   don't  be  surprised  if  the 
entire  feminine  population  adopts 
the  fragrant   dress  and  manners 
of  our  grandmothers'  time.  If  you 
must  know,  I  went  right  out  and 
got  fitted  for  my  first  hoop  skirt.   For  with 
Garbo  in  the  vanguard,  the  new  Romantic 
Age  is  actually  here.    Until  another  Garbo 
picture  comes  along,  at  any  rate! 


CjTCta — Fift  —  Continued  from  page  39 


"Theodore  Roberts  was  another  of  my 
pupils,  in  a  way.  When  I  was  playing 
in  vaudeville  a  couple  of  years  ago  here 
on  the  coast,  he  had  the  dressing  room 
next  to  mine  and  he  liked  to  speak  French 
with  me.  I  would  help  him  with  his 
nouns  for  he  found  them  difficult.  'See,' 
I  would  say  if  perhaps  we  were  sitting  at 
dinner  together,  'knife — le  couteau,  he  is 
masculine.  We  will  put  him  on  this  side,'  " 
Fifi  demonstrates  clearly  just  how  this  is 
done,  "  'and  fork — la  fourchette,  she  is 
feminine.  We  will  put  her  on  this  side, 
so.'  And  so  for  la  serviette  and  all  of 
the  table  utensils,  until  it  was  all  quite  clear." 

But  even  though  Miss  Dorsay  apparently 
has  this  anchor  to  windward,  it  is  hard 
to  picture  the  ooo  la  la  Fifi  of  "Hot  For 
Paris"  as  a  school  marm!  Nunno! 

"Greta  is  fond  of  outdoor  exercise.  She 
isn't  at  all  the  languid  lady  in  real  life. 
We  play  a  great  deal  of  tennis  together, 
and  every  day  she  walks  for  miles  and 
miles.  It  is  the  way  she  keeps  fit.  As  for 
me,  I  like  jumping  the  rope  best,  faster, 
faster,  faster,  until  I  am  all  out  of  breath. 

"See,  this  is  the  way  Greta  walks,"  Miss 


Dorsay  quickly  changes  from  the  twinkling 
Fifi    gait   to   the   swinging   Garbo  slouch. 

"You  know,  people  say  that  Greta  is 
high  hat,"  Fifi  became  serious,  "but  I  know 
she  really  likes  people  and  wants  them  to 
like  her.  I  understand  how  it  is.  So  many 
would  like  to  take  up  her  time  if  she  would 
let  them,  and  she  does  like  to  be  alone 
and  read.  So  you  cannot  blame  her  if 
she  prefers  solitude  most  of  the  time." 

But  solitude  is  something  you  would 
never  imagine  the  gay  Dorsay  mademosielle 
preferring,  although  underneath  her  vi- 
vacious manner  is  a  distinct  thread  of  seri- 
ousness. 

A  very  likable  Fifi,  this  Miss  Dorsay 
from  France,  a  charming,  bubbling  Fifi, 
not  beautiful  perhaps,  but  with  plenty  of 
that  je  ne  sais  quoi  which  makes  for  suc- 
cess. 

Not  so  long  ago  she  came  from  France, 
and  worked  as  a  stenographer  in  New 
York.  But  the  stage  was  always  her  am- 
bition, and  soon  she  found  work  in  the 
chorus  of  a  New  York  musical  show,  in 
the  "Greenwich  Village  Follies,"  then 
doing  a  specialty  number  in  a  show  with 


Gallagher  and  Shean,  followed  by  a  sea' 
son  in  vaudeville.  Her  latest  triumphs  have 
been  with  Will  Rogers  in  "They  Had  To 
See  Paris"  and  with  Victor  McLaglen  in 
"Hot  For  Paris."  She  will  next  be  seen 
with  Harold  Murray  in  a  more  serious  pic- 
ture,   tentatively    entitled    "Hell's  Belles." 

The  new  title  of  this  opus  is  "On  the 
Level" — quite  a  change,  but  doubtless  all 
for  the  best.  Fifi  and  Vic  are  seeing  a  lot 
of  each  other  on  the  sound  stage  these 
days.  They  are  scheduled  to  start  work 
any  time  now  on  a  new  comedy  called 
"The  Painted  Woman,"  in  which  the  gay 
little  French  girl  will  play  the  title  role 
and  the  stalwart  and  virile  Vic  will  enact 
the  part  of  a  hard-boiled  first  mate  of  a 
steamer  in  the  South  Seas.  It  sounds  ex- 
citing and  surely  there's  no  more  amusing 
team  on  the  screen  than  little  Fifi  and 
big  Vic. 

And  that's  Fifi,  the  envied  of  scores  of 
girls,  Greta's  pal.  She  has  to  lock  up  all 
of  her  shoes  at  night,  so  many  would  like 
to  jump  into  them. 

That's  Fifi,  she  'bane'  French. 


for    July  1930 

Do-Re-Ati  Denny 

Continued  from  page  51 

light  opera,  and  at  the  end  was  playing 
the  featured  lead  of  Prince  Dantio. 

"Then  I  came  to  America  for  a  short 
engagement  with  'The  Quaker  Girl."  Re- 
turning to  England,  I  went  almost  imme- 
diately to  India  with  the  Bandmann  Opera 
Company.  We  were  there  nearly  two 
years,  and  I  sang  the  leads  in  a  repertoire 
of  seventeen  h'ght  operas,  including  'Gypsy 
Love,'  'The  Gay  Hussars,'  'The  Dollar 
Princess,'  'The  Night  Bird'  and  'Pink 
Lady."  Back  to  America  again  where  I 
did  'Kitty  McKay.* 

"I  grew-  a  little  tired  of  singing  and  I 
became  a  straight  actor,  after  completing 
an  engagement  in  'The  Passing  Show  of 
1919.'  For  ten  years  past,  I've  been  either 
on  the  stage  or  in  pictures.  I  haven't 
sung  a  note,  and  the  fact  that  you're  sur- 
prised to  hear  that  I  can  sing  isn't  unusual. 
My  chauffuer  has  been  with  me  for  years, 
and  when  he  read  that  I  was  going  to  sing 
for  De  Mille  he  came  to  me  with  his  eyes 
bulging  out  of  his  head. 

"I've  had  such  a  long  vacation  from  pro- 
fessional vocal  work  that  I'm  very  anxious 
to  get  back  to  it.  I'm  tickled  to  death  to 
play  this  role  with  De  Mille,  not  only 
because  it  is  a  good  singing  thing,  but  also 
because  it  is  so  very  different  from  the 
rather  violent  characterizations  I  have  done 
for  such  a  long  time." 
He  grinned  at  me  again. 
"You  see,"  he  resumed,  "Ben  Turpin 
can  well  enjoy  having  a  trade  mark  irre- 
vocably fastened  upon  him,  but  not  me. 
I  feel  that  I  have  a  little  greater  range 
than  just  that  of  light,  very  light  comedy — 
and  I  hope  that  my  period  with  De  Mille 
will  make  people  feel  that  Denny  is  a  bit 
more  than  a  rough  and  ready  comedian." 
He  laughed. 

"I've  been  associated  with  comedy  so 
long  that  few  people  ever  credit  me  with 
either  serious  intentions  or  a  serious  dra- 
matic background.  As  a  matter  of  fact, 
however,  I  was  most  strictly  trained  on 
the  stage. 

"I  was  with  John  Barrymore  in  that 
tremendous  tragedy.  Shakespeare's  'Richard 
III.  In  fact,  I  was  really  trained  by  my 
father  as  a  boy  for  Shakespearian  reper- 
toire. But  in  pictures  I  got  into  a  rut  of 
comedy,  and  my  name  is  so  thoroughly 
established  as  a  semi-clown,  that,  well,  I'm 
embracing  the  opportunity  to  show  them 
I  have  a  larger  supply  of  dramatic  wares!" 

And  that  was  the  point  of  my  exit. 

Mr.  Reginald  Denny  has  been  called  to 
the  stand,  found  guilty  of  being  a  singer, 
and  sentenced  to  appear  before  the  Bar  of 
Public  Opinion. 

Before  I  left  he  grinned  at  me  again, 
and  stepped  to  the  piano. 

"If  you  still  have  any  doubts — "  and  he 
sang  me  Danilo's  big  song  from  "The 
Merry  Widow." 

He'll  do,  folks,  this  singer.  Denny,  and 
I  think  I  am  very  safe  in  prophesying  that 
Reggie  will  surprise  you  all  in  "Madame 
Satan." 


The  fitted  bag  offered  by  Mr.  and 
Mrs.  Edmund  Lowe  (Lilyan  Tashman) 
has  been  awarded  to: 

Franklin  B.  Ayer, 
851  Park  Avenue, 
Springfield,  Illinois. 


117 


THE  S A  N  I  T>7  «.r  WJtY  TO 


ne^lOVE    FACE  CflF/JMS 


e  jafe ... 

remove  cold  cream 
the  Kleenex  way 

Be  sape  when  you  remove  cold  cream.  are  so  dangerous  to  complexion  beauty. 

Don't  use  a  method  that  may  stretch  and  And  Kleenex  is  so  very  absorbent, 

relax  the  skin  .  .  .  like  coarse,  unabsor-  The  delicate  tissues  simply  blot  up  the 

bent  towels.  Don't  use  unhygienic  "cold  surplus  cream,  along  with  lingering 

cream  cloths,"  which  usually  carry  bac-  bits  of  din  and  cosmetics.  No  rubbing 

teria  into  the  pores  instead  of  lifting  [s  needed. 

impurities  away.  Kleenex  tissues  are  becoming  more 
Kleenex  is  safe.  Great  skin  authorities  anc}  more  popuiar  for  handkerchiefs, 
recommend  it,  great  beauties  use  it.  Every  are  so  freshj  clean  and  soft  _  _  _ 
Kleenex  tissue  comes  from  the  box  pure,  anj  j0  away  with  unpleasant  hand- 
soft,  absolutely  free  from  the  germs  that  kerchief  laundering. 

•}  *  Doctors  advise  Kleenex  when  there's 

,  7r  .    „.  .  ,              _,m  a  cold,  to  avoid  reinfection.  Think  how 

Lovely  Helen  Wright.              Mm-  ,  l                        •           u       j-  j 

Universal' s  talented  much  better  to  use  a  tlssue>  then  discard 

new  leading  lady,  has  it,  than  a  germ-filled  handkerchief. 

her  own  feminine  rea-               .  .  Ask  for  Kleenex  at  the  toilet  goods 

sons  for  removing  cos-         |  counter  of  any  drug  or  department  store. 

metics  with  Kleenex:           W'  jo  i 

"Such  lovely  tints  I  «  '  .>  — — <• 

Kleenex  not  only  re-                            2fe  r^l           •  rp. 

moves  make-up  and                   Mk  J\Jeenex  Llcan.sing;  1  issues 

cleansing  cream  very    HH           >  JjBm  _             .  . 

thorough!.  —                       M     JMk  ■  Kleenex  Company,  Lake-Michigan  Bldg., 

me  in  the  right  >                    ....  Chicago,  Illinois. 

for  a   beauty   treat-  Please  send  a  sample  of  Kleenex  to: 

menu"                            J^^^^^M  SL-7 

Name   

jJjljL^  ^s^jJU-  Address  -  — 

0  City  -  -   


I 


118 


SCREENLAND 


On  Location  with  Warner  Baxter—  Continued  from  page  63 


spoke  Cosy,  pointing  a  stubby  finger  at 
a  jumble  of  tents  and  buildings  half  hid' 
den  in  the  brush  on  a  little  flat  across 
the  river.  He  swerved  the  car  deftly 
down  the  bank,  negotiated  a  shallow  ford, 
and  we  drew  up  in  "Foxville,"  some  four 
hundred  miles  from  Hollywood  in  an  air 
line,  but  in  another  world  as  far  as  the 
surroundings  went. 

Foxville!  A  brave  little  outpost  of  that 
army  that  serves  the 
public  its  screen  en' 
tertainment.  Some 
waggish  joker  had 
carefully  lettered 
the  various  signs 
posted  at  the  inter- 
sections. "Holly- 
wood Boulevard." 
"Wurtzel  Boule- 
vard." "Foxville 
Light  and  Power 
Co."  —  this  last 
nailed  to  the  shed 
housing  the  big 
studio  generator 
which  lighted  the 
camp.  "Beverly 
Boulevard."  "Shee- 
han  Drive." 

Reminiscent  of 
an  army  canton- 
ment, with  its  or- 
derly rows  of  khaki- 
squad  tents.  The 
big  dining  tent, 
"Judd's  Chuck 
House,"  where  the 
200-odd  hungry 
occupants  of  Fox- 
ville gathered  three 
times  a  day.  The 
star  'bungalows' 
along  Hollywood 
Boulevard  —  "Bev- 
erly   Hills  Hotel" 

for  the  Baxters.  (Winifred  Bryson,  who 
used  to  be  in  pictures  herself,  accompanied 
husband  Warner  on  location.)  "The  Bilt- 
more" — Mona  Maris'  home.  Carol  Lom- 
bard in  the  doorway  of  her  "Ambassador." 
"Bachelor's  Hall,"  where  Theodore  Von 
Eltz  dwells  in  solitary  splendor.  Don't  let 
the  names  fool  you — these  palatial  edifices 
are  built  principally  of  two-by-fours  and 
tar  paper. 

"The  White  House" — the  only  perma- 
ment  building  in  camp,  a  story  and  a  half 
structure  dating  from  the  early  Eighties, 
some  twenty  years  after  the  Mormons  set- 
tled this  part  of  the  country.  Director 
Santell  uses  it  for  a  combined  office  and 
bedroom.  And  it  takes  a  good  sense  of 
balance  (and  high  boots)  to  get  there 
across  the  muddy  streets.  The  paving 
on  "Hollywood  Boulevard"  is  at  the  bot- 
tom— hardpan — about  a  foot  down. 

The  studio  bulletin  board,  at  the  corner 
of  Beverly  and  Wurtzel  boulevards.  Terse 
orders  regarding  hours,  the  necessity  of 
getting  to  breakfast  on  time  or  no  break- 
fast, and  the  like.  "No  one  is  to  ride 
horses  unless  a  special  permit  is  secured. 
And  there  will  be  no  special  permits,  so 
that's  that."  Some  humorist  has  tacked  a 
picture  post-card  of  the  real  Hollywood 
Boulevard  on  the  board,  and  a  homesick 
electrician  who  has  been  here  for  three 
weeks  looks  at  it  with  longing  eyes. 

A  gong  clangs,  and  all  hands  pour  out 
of  the  tents  toward  the  dining  room,  balanc- 
ing precariously  on  duck-boards  across  the 
muddier  spots.    A  blaze  of  lights  and  noise 


— clatter  of  dishes,  the  tramp  of  heavy 
feet,  appetizing  aromas  in  strata  formation 


glistening   in   the   moonlight,   and  shiver. 
"Just   a   cold   snap,"   is   the  reassuring 


meet  the  nostrils.  There's  no  formality  word.  "First  week  or  so  here  it  was  just 
like  dressing  for  dinner  here.     A   quick    like  Hollywood.     It'll  clear  up  in  a  day 


wash,  a  comb  racing  through  the  hair — 
that's  all.  Old  clothes,  or  in  costume  for 
the  players,  unless  they've  shifted  into  some- 
thing more  comfortable. 

Mona  Maris   in   a  marvelous  whipcord 


or  two. 

You  fervently  hope  so.  Collar  turned 
up  and  hands  in  pockets  you  walk  around 
the  camp.  Lights  in  the  tent-rows,  bursts 
of    laughter    and    scraps    of  conversation 


Mahonri  Young 
indu 


riding  suit,  with  leather  tam  and  coat  to    meet  in  cheerful  blend. 

Back  to  your  own 
tent.  The  stove  is 
enormously  popu- 
lar. It's  already 
below  freezing  out- 
side. The  bed  looks 
inviting.  The  lights 
blink,  signal  that 
10:30  and  its  ac- 
companying dark- 
ness are  imminent. 
Ho,  hum. 

Your  next  im- 
pression is  of  a 
fire  alarm,  but  it's 
only  the  6:30  ris- 
ing gong.  They 
had  a  bugler  here 
at  first,  you  learn, 
but  he  was  abol- 
ished; in  the  first 
place,  it  took  an- 
other bugler  to  get 
him  up  on  time, 
and  there  wasn't 
any  other  bugler. 
And  in  the  second 
place,  the  incum- 
bent was  terrible, 
anyway.  So  one  of 
the  boys  in  the 
cook  tent  belabors 
a  triangle  with  a 
tent  spike.  It's  ef- 
fective. 

The  sun  is  climb- 
ing brightly  over  the  buttresses  of  Steam- 


,  famous  sculptor,  contributes  his  art  to  the  fifth  greatest 
stry.    His  sculptures  are  seen  in  Fox  films. 


match.  Warner  Baxter  in  ancient  trousers 
and  a  gaily-colored  mackinaw  jacket.  Carol 
Lombard,  a  blonde  contrast  to  Mona's  dark 
beauty,  also  in  riding  attire.  Looks  like 
riding  is  popular,  despite  the  threatened 
lack  of  'special  permits.'  Teddy  Von  Eltz, 
still  menacing  in  his  gambler's  costume  of 
the  Eighties,  with  a  bone-handled  Bisley 
model  swinging  nonchalantly  on  his  hip. 

Director  Santell,  like  a  teddy-bear  in  a 
huge  fuzzy  overcoat.  An  indiscriminate 
crowd  of  players,  electricians,  property  men, 
script  girls,  the  camera  crew  in  a  body, 
thronging  in  through  the  door.  George 
Leverett,  the  sound  magician,  and  Glen 
MacWilliams,  first  cameraman,  hailed  with 
ribald  cheers  as  they  file  in.  A  noisy 
crowd — a  friendly  crowd! 

Idle  banter  across  the  tables,  to  the  ac- 
companiment of  clicking  cutlery.  "More 


boat  Mountain;  the  clouds  of  yesterday 
have  vanished.  Sounds  of  frenzied  ac- 
tivity from  neighboring  tents.  You  dress 
quickly,  hurry  to  the  dining  room. 
Dodge  floods  of  water  from  tent  doors, 
hurled  by  enthusiastic  abluters.  The 
tent  quickly  fills.  Grapefruit.  Cereal — 
three  or  four  kinds.  Toast.  Eggs.  Sau- 
sages. Coffee.  You  appreciate  your  ap-  ' 
petite.  It  has  all  the  earmarks  of  a  swell 
day. 

Outdoors  and  off  the  set  two  blocks 
away.  The  muddy  main  street  of  a  little 
mountain  town  of  the  Eighties.  Here  the 
movie  wizards  have  indeed  worked  a  mir- 
acle. Using  the  three  remaining  buildings 
of  the  'ghost  city'  of  Grafton  as  a  nucleus, 
they  have  rebuilt  it  on  the  spot.  Joe 
Wright,  the  studio   art  director,  and  his 


"An  onion  a  day  keeps  the  doc-     assistants  have  bent  attentive  ears  to  the 

old-timers  of  the  vicinity,  and  the  result 
is  amazing. 

"Guess  which  of  the  buildings  are  the 
original  ones,"  says  Santell  proudly,  sur- 
veying the  street  with  a  grin.  You  look 
carefully.  The  old  church,  you  think,  is 
one.  Right.  With  its  heavy  walls,  "three 
'dobes  thick,"  as  the  pioneers  put  it,  and 
its  decaying  bell-tower,  it  has  the  unmis- 
takable stamp  of  antiquity.  But  the  others 
are  a  puzzle.  You  make  two  wrong  guesses 
and  give  up.  Only  the  new  scaffolding 
and  bracing  inside,  or  the  absence  of  a 
back  wall,  will  tell  you.  From  the  front 
the  illusicn  is  perfect. 

The  electricians  and  the  players  arrive 


tor  away."  "Yeah,  and  your  friends,  too, 
you  bet."  "Can  you  reach  those  beans, 
Bill?"  "What's  in  that  salad?"  "What 
do  you  care?  You'll  eat  it  anyhow." 
"Hallelujah,  chicken  again!  Baby,  come  to 
poppa!"  "Who's  hiding  the  cream?" 
More  chatter.  The  trample  of  feet  as  satis- 
fied diners  wander  out.  No  formality — 
you  leave  when  you  feel  like  it. 

The  warm  tents,  with  their  little  stoves 
blazing  redly  to  fight  the  Utah  wind.  You 
learn  that  there  is  no  snow  here  because 
it's  more  than  2000  feet  below  Cedar  City. 
Zero,  they  tell  you,  is  as  low  as  it  ever 
gets  in  this  section.  You  look  up  at  the 
white  drifts  on  the  surrounding  mountains, 


for    July    19  30 

in  a  long  straggling  line.  Half  the  inhabi- 
tants of  near-by  Rockville  are  already  there, 
watching  the  local  horseshoe  champion 
trimming  an  upstart  challenger.  The  com- 
pany is  shooting  inside  the  saloon  today, 
and  the  native  residents,  who  formed  en- 
thusiastic 'atmosphere'  in  earlier  scenes, 
won't  be  used — but  they  have  all  come, 
anyway.  Making  movies  is  an  irresistible 
magnet  to  these  people,  who  see  little 
enough  of  the  outside  world  as  it  is.  All 
Mormons,  every  one. 

Interesting  men.  these;  slow-spoken, 
grave,  but  eager  as  children  to  watch  the 
details  of  filming.  Many  of  them  came 
down  from  Salt  Lake  City  at  the  period 
of  the  picture.  Some,  even,  were  the  real 
pioneers — youngsters  of  three  or  ten  who 
accompanied  their  families  into  what  was 
then  an  untrodden  wilderness,  in  1861. 
and  founded  this  very  'ghost  city'  and  the 
other  communities  along  the  river — Hurri- 
cane, Dixie,  Toquerville.  St.  George. 
Youngsters  who  remember  the  bitter  Indian 
fights  of  '66,  when  the  raiding  Navajos 
from  Arizona  swept  in.  joined  with  the 
local  Piutes  and  killed  whole  families  within 
a  mile  or  two  of  this  very  spot. 

The  little  burying-ground  above  the  city 
is  reminiscent  of  that  period.  Neglected, 
with  bunch-grass  and  sage  clumps  growing 
above  the  lonely  graves,  the  headboards  tell 
the  story;  "M.  Isabelle  Hales,  .  .  .  killed  by 
Indians  April  2,  1866."  "Joseph  S.  Berry, 
...killed  by  Indians.  April  2,  1866." 
"Loretta  A.  Russell.  .  .  .  killed  by  Indians. 
February  18,  1866."  Mute  testimony  to  the 
men  and  women  who  braved  untold  dangers 
among  these  fantastic  buttes  and  canyons. 


119 


A  whistle  shrills  from  within  the  'saloon.' 
Under  the  glare  of  'rotaries,'  'broads'  and 
'inkies,'  the  players  are  going  through  a 
scene  against  the  background  of  a  highly 
realistic  bar — for  unlike  previous  Western 
talkies,  "The  Arizona  Kid"  is  having  all 
its  interiors  filmed  right  on  the  spot,  in- 
stead of  at  the  studio  weeks  later.  Baxter 
resplendent  in  his  Spanish  costume  of  the 
Arizona  Kid,  is  leaning  negligently  against 
the  bar  in  purposeful  conversation  with 
Walter  P.  Lewis,  the  sheriff.  Mona  flashes 
jealous  glances  at  her  picturesque  lover 
from  her  post  by  the  piano,  which  last  is 
being  industriously  thumped  by  Sidney 
Bracy.  Hank  Mann,  the  ex-Sennett  come- 
dian, in  a  walrus  mustache,  is  polishing 
glasses  behind  the  bar  smiling  to  himself 
as  Cora  Walsh  warbles  an  old-time  ballad 
and  Teddy  von  Eltz  is  deftly  dealing  at 
the  poker  table.  Arthur  Stone  is  a  comedy 
prospector. 

Another  whistle.  The  faint  humming  of 
the  motor-driven  cameras  ceases.  An 
assistant  dashes  up  with  the  'slate.'  holds 
it  before  the  instruments  in  turn.  "How 
was  that?"  "O.K.  here."  "O.K.  for 
sound."  "Print  that  one."  "Save  "em!" 
The  last  is  the  bellow  of  the  'gaffer.'  and 
obediently  the  powerful  lamps  flicker  off. 
Another  scene  is  in  the  bag,  and  tomorrow 
will  be  on  its  way  to  the  studio  for  de- 
veloping. "Clear,  please.  Next  set-up 
over  in  this  corner."  The  players  and 
spectators  wander  out  through  the  swinging 
doors  into  the  bright  sunshine.  Above,  the 
frowning  shoulders  of  Steamboat  peer  down 
in  wonder  at  all  this  sudden  activity.  The 
business  of  picture-making  is  under  way. 


Will  Talkies  Influence  American 

Continued  from  page  29 


'0: 


? 


can  speech.  We  need  to  cultivate 
that  pleasing  variety  of  intonation 
which  characterizes  the  speech  of 
some  educated  Englishmen.  It  was 
Countess  Elise  Jotsy  who  called 
English  'the  language  of  angels' — 
but  we  mustn't  forget  that  there 
are  angels  of  light  and  angels  of 
darkness. 

"2.   We  should  not  drawl.     The  Chris- 
tian   Science    Monitor    of  Boston 
said  recently:  'One  of  the  evident 
faults     of    many  English-speaking 
people  the  world  over  is  the  drawl. 
To    lengthen    words  unnecessarily 
hints  laziness,  and  is  ...  a  mark 
of    people    whose    leisurely  habit 
tends  toward  inertia.    The  mentally 
alert  person  will  not  be  tedious  in 
his  manner  of  speaking  .  .  .  quick, 
clean-cut  speech  is  a  mark  of  urban- 
ity ...  of  active,  energetic  living 
which  wastes  no  time.' 
"3.    Another    failing    of    Americans  is 
the    way    they    mispronounce  the 
vowel    sound    'eu,"    which   we  find 
in  such  words  as  'news*  and  'Tues- 
day.'    A  great  majority  of  people 
say  'noos*  for  'news'  and  'Toosday' 
for  'Tuesday.' 
"I  could  go  on  indefinitely  if  I  had  time 
not  only  with  the  faults  of  our  language 
but  with  its  fascinations.     For  there  are 
many  fascinating  byways  in  which  we  can 
lose  ourselves  in  our  pursuit  of  pure  speech. 
For   example,   the   words   we   think  were 
coined  specifically  for  the  twentieth  cen- 
tury may  go  back  for  hundreds  of  years. 

"Take  'whoopee,'  for  instance.  A 
Broadway  columnist  is  commonly  credited 
with    coining   it.     But   he   didn't.     In  a 


fifteenth  century  manuscript,  one  of  Henry 
the  Eighth's  chaplains  is  pictured  as  giving 
vent  to  'Whooppe  aloud  and  thou  shalt 
hear  him  blow  his  horn!" 

"Also  'hooch'  has  quite  an  ancestry.  Orig- 
inally "hoochinoo,"  it  spread  its  sweetness 
over  the  wilds  of  Alaska  where  it  was  cur- 
rent only  among  the  aborigines.  It  was 
used  by  the  Alaskan  Indian  as  the  name 
of  a  very  strong  distilled  liquor  made  from 
yeast,  flour,  molasses  and  sugar,  one  glass 
of  which  is  said  to  contain  more  'frenzy' 
than  a  quart  of  any  other  ordinary  in- 
toxicating beverage  made — whiskey  included. 
I  have  traced  it  back  to  the  days  of  the 
Klondike  rush,  but  have  no  doubt  it  was 
in  use  among  the  natives  many  years  before 
then. 

"I  love  words — just  as  you  will  learn 
to  love  them  if  you  study  them.  They 
never  argue,  never  quarrel.  They  are 
life's  most  cheerful  companions. 

As  we  are  reading  books,  conning  dic- 
tionaries, visiting  talking  picture  theaters 
trying  to  improve  the  gift  of  our  native 
tongue,  we  should  remember  what  the 
great  German  scholar  Schlegel  in  his  'His- 
tory of  Literature,'  lecture  ten,  said: 

"  'Every  man  of  education  should 
make  it  the  subject  of  his  unceasing 
concern  to  preserve  his  language  pure 
and  entire;  to  speak  it,  so  far  as  is  in 
his  power,  in  all  its  beauty  and  perfec- 
tion. ...  A  nation  whose  language  be- 
comes rude  and  barbarous,  must  be  on 
the  brink  of  barbarism  in  regard  to 
everything  else.  A  nation  that  allows 
her  language  to  go  to  ruin,  is  parting 
with  the  best  half  of  her  intellectual 
independence,  and  testifies  her  willing- 
ness to  cease  to  exist.'  " 


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SCREENLAND 


Speaking  of  Girls- 


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rtNlf.  V Oft"  —Continued  from  page  31 


officer  in  an  Allen  Holubar  picture  years 
ago.  And  it  wasn't  at  all  flattering  to  Von 
Stroheim  as  a  man.  "The  trouble  with  me 
is  that  I  look  like  a  villain  and  because  I 
do,  people  easily  believe  anything  that  is 
said  about  me.  I  look  like  a  square-headed 
Dutchman  and  I  crop  my  hair  after  the 
Prussian  military  fashion.  The  clothes  I 
wear  accentuate  the  brutality  of  my  make-up 
— and  there  you  are.  No  one  gives  me 
credit  for  being  a  good  actor,"  Mr.  Von 
declared  to  me.  "They  think  I  am  like 
that  in  real  life." 

When  Wally  or  Noah  Berry  walk  into 
a  restaurant  every  head  turns,  and  people 
say:  "There  goes  that  marvelous  actor, 
Wallace  Berry."  When  Von  Stroheim 
walks  in,  faces  begin  to  pucker  in  contempt, 
or  so  he  thinks,  for  he  is  as  sensitive  as  a 
five  year  old  child,  and  people  say:  "What 
is  that  creature  doing  in  the  presence  of 
decent  people?" 

"I  have  taken  things  too  seriously,"  Von 
told  me,  as  we  sat  on  the  "Three  Faces 
East"  set  at  the  Warner  Brothers  studio. 
"After  a  man  reaches  forty  he  sees  that  the 
world  and  all  its  responsibilities  do  not 
rest  entirely  upon  his  shoulders.  I  thought 
they  did.  I  was  dead  certain  that  the  suc- 
cess or  failure  of  the  entire  industry  de- 
pended upon  my  turning  out  a  good  pic- 
ture." He  laughed.  "Now  I  know  a  great 
deal  better.  My  reputation  for  useless  ex- 
travagance began  with  'Foolish  Wives.' 
Carl  Laemmle  gave  me  carte  blanche  to 
make  it.  It  was  the  first  time  Universal 
gave  anyone  carte  blanche  to  do  anything. 
They  decided  to  make  capital  out  of  it  by 
means  of  exploitation.  In  the  Times  Square 
section  of  New  York  there  was  an  enor- 
mous billboard  upon  which  appeared  the 
following: 

Universal  Pictures 

Carl  Laemmle 

Eric  Von  Stroheim 
"Foolish  Wives" 
Cost  of  production  to  date;  $998,000.87 
"In  twenty-four  hours  the  total  leaped 
a  hundred  thousand  dollars!  And  for  a 
solid  year  that  total  kept  on  mounting  until 
it  reached  staggering  proportions.  That 
was  fine  for  Universal  Pictures,  Carl 
Laemmle  and  'Foolish  Wives'  but  what  did 
it  do  to  Von  Stroheim?  Linked  him  up 
with  the  dollar  sign  which  he  probably 
never  will  live  down  no  matter  how  little 
he  spends.  Give  a  dog  a  bad  name  and 
just  let  him  try  to  shake  it.  To  tell  you 
the  truth,  I  never  in  my  life  made  a  pic- 
ture that  cost  more  than  a  million  and  a 
half  dollars,  and  what  is  that  today?  Noth- 
ing to  talk  about.  As  for  sensationalism, 
well — 'Foolish  Wives'  was  a  kindergarten 
text  compared  to  what  one  may  learn  from 
'The  Cock-Eyed  World."' 

Fay  Wray  has  told  me  that  working  with 
Von  Stroheim  was  the  most  interesting 
experience  she  had  ever  had.  It  was  her 
first  picture  of  importance  and  she  was 
eager  to  get  the  part  because  she  thought 
Von  Stroheim  could  teach  her  more  than 
any  director  at  that  time.  When  she  saw 
him  he  talked  with  her  for  a  few  minutes 
and  as  she  left  he  called  her  Mitzi,  the 
character  in  the  story.  Although  many 
other  girls  tried  for  the  part  during  -the 
next  three  months  before  production  started 
Von  never  changed  his  mind  about  Fay. 
He  told  me  afterwards  that  the  story  of 
"The  Wedding  March"  brought  back  many 
scenes  of  his  youth  and  because  of  that  he 
wanted  nothing  to  be  slighted.  Fay  ap- 
peared to  him  to  be  the  living  expression 


Eric  Von  Stroheim  snatches  time 
between    scenes    for   one    of  his 
famous  hair-cuts. 


of  the  girl  in  his  dream  and  he  realized  it 
the  moment  he  saw  her. 

The  amazing  thing  about  him  is  that  he 
is  the  most  extravagant  idealist.  Few  peo- 
ple know  it  and  I  don't  think  he  even 
guesses  it.  He  thinks  he  is  a  realist  of  the 
first  water.  And  it  is  probably  that  war- 
ring within  himself,  the  physical  against 
the  spiritual,  that  keeps  him  in  such  a 
turmoil.  The  idealistic  quality  gives  him 
the  vision  to  create;  the  seamy  side  of  life 
and  the  way  he  rubs  it  in  by  vulgarities 
that  are  classics  in  expression,  are  a  bitter 
gesture  toward  life  as  it  seems  to  be  and 
not  as  it  should  be. 

It  is  perhaps  because  he  has  such  a  seri- 
ous, deliberate  nature,  in  spite  of  the  humor 
in  him,  that  people  love  to  tease  him.  Even 
those  who  like  him  well  spread  preposterous 
tales  about  him.  There  was  the  yarn  about 
planting  a  field  of  red  roses  and  objection 
to  the  way  they  photographed.  "Plant  the 
field  in  white  roses,"  Von  is  reported  to 
have  said,  causing  much  delay  and  expense. 
Four  people  who  went  all  through  "The 
Wedding  March"  told  me  there  never  had 
been  such  a  scene  in  the  picture,  yet  many 
people  believed  the  yarn. 

It  is  said  that  he  had  ordered  a  very 
elaborate  Casino  scene  in  "The  Merry 
Widow."  When  everything  was  ready, 
with  extras  on  the  set  and  all  the  rest  of 
it,  Von  pondered  a  moment  and  said,  "Move 
the  whole  scene  six  inches  to  the  left!" 

And  people  believed  that,  too.  "I  have 
never  had  even  the  furniture  moved  on  a 
set,"  Von  said  disgustedly.  "I  haven't 
that  kind  of  an  art  director.  I  get  people 
who  know  their  business.  I  am  very  care- 
ful to  do  that.  Then  once  I  have  told 
them  what  I  want  it  is  up  to  them.  I 
appreciate  that  every  man  must  have  free- 
dom to  express  himself  as  far  as  his  work 
goes.  And  as  I  respect  it  in  others  I  want 
it  for  myself." 

But  the  stories  about  him  go  on.  After 
"Queen  Kelly"  it  looked  as  though  he  was 
about  through  as  a  director.  Everyone  was 
afraid  of  him  and  Von  was  afraid,  not  of 
himself  but  of  what  people  thought  of  him 
as  a  spender  and  time  waster.    Then  offers 


for    July  1930 


121 


to  act  came  frequently.  "The  Great  Gabbo" 
won  much  praise  for  him,  but  stories  began 
to  be  circulated  about  how  late  he  was  in 
reporting  for  work  and  how  he  quarrelled. 
"That's  all  nonsense,"  Jim  Cruze  told  me, 
and  Jim  is  reputed  to  be  the  worst  slave 
driver  in  the  business,  a  regular  bruiser  for 
work.  "Von  was  here  on  the  dot  every 
morning  and  never  peeped  once  about  hard 
work  or  long  hours.  He  took  direction 
like  a  soldier  and  from  first  to  last  it  was 
a  most  enjoyable  association.  As  far  as 
I  am  concerned,  you  can't  say  anything  too 
decent  about  him." 

When  he  played  in  "Three  Faces  East" 
for  Warner  Brothers  which  he  has  just 
finished,  the  same  rumors  persisted.  "For- 
get it,"  said  one  of  the  assistant  directors, 
"Von  is  a  prince  of  a  fellow.  He's  had  a 
call  right  along  for  eight-thirty  in  the  morn- 


ing and  he  is  waiting  for  us  when  we 
come.  He  has  never  once  walked  off  the 
set." 

Now  he  has  three  offers  to  choose  from. 
One  to  direct  the  sound  version  of  "Foolish 
Wives"  and  "Merry-Go-Round;"  one  to 
act  and  direct  for  Warner  Brothers,  and 
the  thing  nearest  his  heart  is  an  offer  to 
head  his  own  company. 

It  is  impossible  for  me  in  this  neces- 
sarily brief  sketch  to  tell  all  of  the  things 
about  Von  Stroheim  that  make  him  a 
dominant  personality  in  the  industry.  In 
trying  to  write  about  him  I  feel  rather 
as  Von  Sternberg  must  have  felt  when 
confronted  with  the  task  of  cutting  the 
twenty  meaty  reels  of  "The  Wedding 
March"  into  a  program  length  picture. 
It  couldn't  be  done.  That  is,  it  couldn't 
be  done  and  do  justice  to  the  original. 


The  Mike  Menace  —  Continued  from  page  57 


His  grin  went  a  little  wider: 

"You  mean  the  Secret  of  My  Success?" 

"Atta  baby,"  I  flashed,  getting  ready  to 
make  notes  on  Mrs.  Plaza's  tablecloth,  "now 
we're  getting  somewhere.  Remember,  I 
must  take  a  Message  to  your  Public." 

"Well,"  drawled  the  "Captain  of  the 
Guard,"    "the  idea  is  Start  at  the  Top." 

"Why,  Mr.  Boles,"  I  remonstrated,  "the 
idee,  the  very  idee!  Don't  you  ever  read 
the  success  magazines?  Don't  you  know 
you  must  begin  at  the  bottom,  and  never 
watch  the  clock,  and  do  a  little  more  than 
your  job,  and — " 

"Oh,  yeah?"  yawned  Universal's  bright- 
est star. 

"Why,  of  course,  Mr.  Boles."  I  enthused, 
"you'll  never  be  a  Captain  in  the  Queen's 
navee  if  you  don't  begin  by  polishing  up 
the  handles  on  the  big  front  door.  It  just 
isn't  done.  You're  destroying  a  Great 
American  Credo  like  those  that  business  is 
sound,  that  politicians  are  statesmen,  that 
all  men  are  free  and  equal,  that  we  all 
know  the  words  to  the  national  anthem, 
that  silent  men  are  strong,  that  the  movies 
is  or  are  an  art,  that  the  early  bird  .  .  . 
and  a  fool  and  his  honey  .  .  .  and  a  rolling 
stone  .  .  .  and  .  .  !  Why,  of  course  you've 
got  to  begin  at  the  bottom!" 

"Maybe  so,"  said  John,  "but  me  and 
Mr.  Justice  Holmes  dissent.  My  Secret  of 
Success  is  to  start  as  a  star.  Begin  at  the 
Top — and  stay  there." 

"Mais  how?"  I  queried  in  French,  re- 
membering that  John,  too,  had  once  been 
laughed  at  when  the  waiter  spoke  to  him 
in  that  language.  Also,  that  he'd  been  a 
Looey  'Over  There,"  and  had  studied  in 
Paree.     Anyway,  he  said  it  was  studying. 

"Easy  enough,"  said  John.  "Learn  while 
you  earn.  All  kiddin'  aside,  that's  what 
I've  done — am  doing — and  will  continue 
to  do  world  without  end  amen.  When  we 
used  to  check  in  over  on  the  second  bench 
from  the  left  in  Bryant  Park,  I  knew  I 
could  sing.  It  was  just  one  of  those  things. 
God  gives  you  this,  that  and  the  other. 
The  rest  is  up  to  you.  I  had  no  stage  ex- 
perience. But  I  got  it.  And  I  learned 
while  I  earned.  I  had  no  picture  exper- 
ience. But  you  couldn't  begin  much 
higher  than  opposite  Gloria  Swanson.  I've 
been  learning  about  the  movies  ever  since. 
And  earning  at  the  same  time. 

"You  remember  when  you  advised  me 
to  quit — thought  my  plan  to  start  as  a  star 
was  cuckoo?  Lots  of  folks  agreed  with 
you.  They  told  me  that  I'd  have  to  begin 
at  the  bottom.  In  the  chorus.  I  see  some 
of  the  boys  and  girls  along  Broadway  who 


believed  it.  They're  still  in  the  chorus — 
or  on  the  wrong  side  of  the  Palace  stage 
door." 

"But,"  I  stammered,  clutching  for  illu- 
sion, "you've  gotta  have  the  goods — " 

"Yes,"  he  said,  "you  must  have  some- 
thing. That,  I  would  say,  is  about  half 
the  fight.  What's  more  important  is  self- 
confidence.  You  must  keep  on  believing 
in  yourself.  Even  when  nobody  else  does. 
And  nobody  else  will,  don't  worry  about 
that.  It's  an  old  story.  Everyone  is  clam- 
oring for  talent  right  now  in  the  theater 
and  on  the  screen,  too.  Yet  there's  more 
ability  trying  to  force  its  way  in  than  at 
any  other  period  in  show  business.  It's 
just  naturally  tough  for  them  to  get  to- 
gether. But  the  boys  and  girls  who  get 
the  Success  idea  firmly  implanted  in  heart 
and  head,  and  have  the  confidence  and 
courage  to  stick  to  the  idea — they'll  arrive. 
And  they'll  start  as  stars." 

"How  about  preparedness?"    I  hemmed. 

"The  copy-books  are  right,  there,"  John 
said  earnestly,  "but  it  doesn't  seem  that 
anyone  but  a  nut  will  seek  something  for 
which  he  knows  himself  to  be  unfitted.  No 
foolin'  I  began  preparing  to  sing  opposite 
Bebe  Daniels  in  'Rio  Rita'  when  I  was 
seven." 

"How  come?" 

"Our  old  colored  cook  taught  me  to 
sing.  And  a  little  darkey  about  my  own 
age  taught  me  to  dance.  I  called  him 
'Cooney.'  I  had  an  air  rifle  which  fascin- 
ated him.  And  we  made  a  bargain  that  if 
he  taught  me  how  to  dance — and  sing,  he 
could  sing,  too — I'd  let  him  shoot  the  rifle. 
That's  the  way  it  began." 

"So  you  just  kind  o'  shot  your  way  to 
the  top,  eh?"  I  giggled. 

"Yeah,"  said  John,  "or  else  I  was  shot 
with  luck.  Of  course,  there  was  more  to 
it.  'Cooney'  doesn't  deserve  all  the  credit. 
There  were  long,  tough  years  of  study. 
Study  on  pretty  much  of  a  starvation  diet, 
too.  But  even  then  I  began  at  the  top — 
with  Oscar  Segal  as  my  teacher,  and  later 
De  Rezske,  himself.  And  I  earned  while 
I  learned.  I  had  to.  You  can't  eat  scales, 
you  know." 

"Meaning  fish  or  musical,"  I  niftied, 
but  it  didn't  go  so  well,  so  I  covered. 
"What  was  the  first  song  you  ever  sang 
on  the  stage — on  Broadway — John?" 

"Let  me  see,"  he  pondered,  "let  me  see. 
It  had  an  unusual  title.  Don't  believe 
there  was  ever  a  title  like  it.  Unique. 
Different.  Just  a  minute — yes,  that's  it — 
I  have  it.  It  was  a  song  called  'I  Love 
You!' 


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Who's  An  Ugly  Duckling? 

Continued  from  page  83 


offered  to  adopt  Mary. 

"There  are  times  when  I  still  ponder 
over  the  next  eight  years,  trying  to  under' 
stand  the  attitude  of  my  foster  mother," 
Mary  said.  "She  took  me  into  her  house- 
hold as  her  own  daughter — a  child  without 
health,  loveliness,  manners  or  training — as 
she  once  wrote  me  in  angry  reproach,  'a 
brat  picked  out  of  the  slums  with  sure 
death  staring  her  in  the  face.'  In  her 
tight-lipped  righteous  way,  I  think  she 
loved  me  dearly.  But  she  felt  it  her  sacred 
duty  to  exercise  the  'devil'  in  me! 

"Such  an  innocent  little  'devil'  it  was, 
too!  As  my  health  improved  I  began  to 
manifest  the  natural  ebullient  spirits  of 
childhood.  As  mine  had  been  thwarted 
and  repressed  so  long,  they  perhaps  bub- 
bled unusually  high. 

"I  had  watched  the  children  in  the  tene- 
ment districts  dance — Italians,  Spanish  and 
Irish  who  danced  in  the  streets  as  children 
in  better  districts  might  romp  in  a  park. 
I  had  sung  since  I  was  able  to  talk.  Now, 
I  found  my  new  sense  of  security  and  hap- 
piness manifesting  itself  in  a  desire  to  skip 
and  dance  and  sing  for  sheer  joy. 

"One  day,  I  was  working  off  excess  spirits 
by  humming  a  tune  I  had  heard  somewhere, 
tapping  out  its  rhythm  with  my  feet.  My 
foster  mother  happened  to  catch  me  and 
I  was  soundly  beaten.  Nor  was  it  the 
last  time  I  was  punished  for  the  same  rea- 
son. Unfortunately,  my  child's  mind  could 
not  always  remember  that  I  would  be 
damned  forever  if  my  voice  strayed  from 
hymns  or  my  feet  from  sedateness. 

"It  was  a  curious  childhood!  My  physi- 
cal well-being  was  carefully  watched.  I 
was  fed  wholesome,  body-building  foods, 
housed  in  a  clean,  sweet-smelling  room  and 
dressed  in  a  way  that  compared  favorably 
with  the  clothes  of  my  classmates.  My 
foster  mother  spent  hours  shampooing  and 
brushing  my  hair.  Indeed,  it  is  to  her  that 
I  owe  the  wealth  of  naturally  curly  hair 
I  have  today. 

"Yet,  almost  daily,  I  was  soundly  whipped 
for  some  childish  fault,  always  to  the  ac- 
companiment of  the  ironic  phrase,  I'm 
only  doing  this  for  your  own  good.' 

"The  same  analomy  was  true  of  the  re- 
gard in  which  my  foster  parents  held  my 


Dmitri   Tiomkin   going  over  the 
score    of    ballet    music    he  has 
written  for  the  screen. 


Grace  Moore,  of  the  Metropolitan 
Opera  Company,  arrives  in  Holly- 
wood  to  star  in  singles. 


voice.  Any  credit  for  what  has  been  called 
my  excellent  diction  belongs  to  my  adopted 
mother,  who  taught  me  to  sing  as  clearly 
as  I  spoke.  They  arranged  for  me  to  have 
piano  instruction  and  taught  me  hymns. 
By  my  tenth  birthday,  I  was  an  important 
member  of  the  choir.  But,  one  day,  some 
one  suggested  to  the  minister  that  he  must 
see  to  having  my  voice  trained  and  he 
flew  into  a  rage.  He  told  them  that  I  sang 
as  naturally  as  a  bird,  with  a  talent  that 
was  God-given.  It  would  be  an  offense 
to  Divine  Majesty,  he  informed  them,  to 
tamper  with  my  gift. 

"We  moved  from  Dallas  to  Little  Rock. 
There  the  relentless  discipline  of  my  life 
continued,  and  perhaps  I  began  to  some- 
what justify  their  accusation  of  being  'a 
limb  of  Satan.'  You  know  what  they  say 
about  giving  a  dog  a  bad  name.  I  often 
laugh  now,  though,  at  one  phrase  which 
used  to  arouse  my  wild  anger.  Should  I 
fail  in  some  household  task,  blunder  in  my 
table  manners  or  speech,  .lilt  a  gay  little 
song  instead  of  a  hymn  or  be  caught  tap- 
ping my  feet  to  dance  time,  it  was  all  be- 
cause I  was  'shanty  Irish!' 

"When  I  was  eleven,  father  accepted 
a  pastorate  in  Judsonia,  Arkansas.  Shortly 
afterwards,  a  benefit  concert  was  given  iii 
Little  Rock.  One  of  the  deacons  of  father's 
former  church  wrote  to  ask  if  I  might  be 
permitted  to  return  for  the  occasion,  with 
all  my  expenses  paid.  I  was  stunned  to 
think  that  anyone  would  be  willing  to  pay 
good  money  to  hear  me  sing.  However, 
since  it  was  a  charity,  to  be  given  by  a 
church,  my  parents  permitted  me  to  accept. 
Mother  even  taught  me  some  new  songs, 
including,  as  I  remember,  The  Holy  City 

"That  occasion  remained  the  high  spot 
of  my  life  for  the  next  three  years.  For 
the  rest,  the  period  passed  in  a  routine 
of  school,  practising,  singing  in  the  choir, 
daily  tasks  about  the  house  and  almost 
daily  whippings. 

"I  was  nearly  fifteen  when  the  last  of 
these  occurred — a  particularly  vicious  one 
for  which  my  foster  mother  refused  to  give 
any  explanation.  That  night  I  walked  out 
of  the  house  with  nothing  save  the  clothes 
on  my  back  and  two  dollars  in  dimes  and 


for    July    J  930 

nickels  which  I  had  been  saving  for  many 
months. 

"In  my  extremity,  I  remembered  the 
deacon  in  Little  Rock,  who  had  been  so 
enthusiastic  in  his  praise  of  my  voice.  I 
managed  to  get  to  that  near-by  city  and 
stated  my  troubles  to  him.  This  man,  a 
brilliant  lawyer  and  a  man  of  wealth,  un- 
derstood and  sympathized.  A  truly  Chris- 
tian and  God-fearing  man  himself,  he  still 
felt  that  my  parents  had  been  overzealous 
and  mistaken.  I  wanted  him  to  help  me 
find  some  employment.  ■  Instead,  he  and 
his  wife  insisted  that  I  come  into  their 
home  and  devote  my  entire  time  to  study. 
I  do  not  think  I  could  have  loved  my  own 
parents  more  than  those  two  dear  people 
who  bestowed  upon  me  the  first  tenderness 
I  had  ever  known. 

"For  over  two  years,  I  remained  with 
them,  finishing  high  school,  studying  piano 
and  pipe  organ  and  devoting  as  much 
time  as  possible  to  vocal  training. 

"But  a  sense  of  obligation  kills  some- 
thing in  one.  All  my  life  I  had  been  de- 
pendent on  people  not  connected  with  me 
by  ties  of  birth  or  blood.  I  wanted  to 
earn  my  own  living.  I  was  starving  for 
independence  as  once  I  had  starved  for 
food.  One  day,  a  musical  show  came  to 
town.  When  it  left  I  was  with  it,  singing 
and  dancing  in  the  chorus." 

The  show  went  broke  in  San  Francisco. 
Mary  Lewis  hadn't  been  able  to  save  much 
out  of  her  twenty-five  dollar  a  week  salary, 
so  she  had  to  take  the  first  job  offered  her, 
which  happened  to  be  that  of  'coon 
shouter'  at  Tait's  Cafe. 

"And  how  I  shouted!"  Mary  Lewis 
smiled  in  retrospect.  "I  was  only  seven- 
teen, full  of  pep,  excited  by  the  approving 
clamor  of  the  audiences.  I  hurled  my  voice 
at  them,  and  never  thought  of  saving  my- 
self until  I  opened  my  mouth  one  night 
and  no  sound  came  forth.  I  had  lost  my 
voice  entirely." 

That  was  when  Mary  Lewis  went  into 
motion  pictures.  When  she  played  Los 
Angeles  a  few  months  before,  Al  Christie 
had  given  her  a  test,  along  with  several 
other  girls  in  the  show.  He  told  Mary 
that  she  could  have  a  job  any  time  she 
wanted  to  try  the  screen.  Now  seemed 
the  time  to  take  up  the  offer. 

For  six  months,  Mary  was  a  member  of 
he  Christie  Stock  Company.  But  the  last 
few  weeks  her  heart  was  not  in  hurling 
custard  pies.  For  one  day  she  had  stopped 
in  shocked  amazement  at  the  realization 
that  she  was  singing.  Her  voice  had  come 
back  to  her,  and  she  wanted  to  make  use 
of  it. 

Mary  talked  things  over  with  Al  Christie 
and  he  agreed  to  release  her  from  the  re- 
mainder of  her  contract,  so  that  she  could 
fulfill  a  long  cherished  ambition  to  try  her 
luck  in  New  York.  She  arrived  there  in 
June,  the  very  worst  time  of  the  year  to 
tempt  theatrical  fate.  Nothing  daunted, 
she  rented  a  small  furnished  room,  found 
herself  a  voice  teacher  and  devoted  .the 
days  to  intensive  training.  In  July,  she 
landed  in  the  chorus  of  the  "Greenwich 
Village  Follies"  at  forty  dollars  a  week. 
Before  rehearsals  were  over  she  was  prima 
donna  instead  of  chorus  girl.  John  Mur- 
ray Anderson,  the  director,  had  heard  her 
sing. 

Mary  was  started.  Nothing  could  stop 
her.  The  rest  of  her  story  is  fairly  well 
known.  She  left  the  "Greenwich  Village 
Follies"  for  Ziegfeld's  bevy  of  glorified 
girls,  where  she  was  featured  for  two  years. 
And  all  the  time  she  continued  her  studies, 
with  the  result  that  her  voice  constantly 
improved.    One  night,  Otto  Kahn,  million- 


aire musical  patron,  attended  the  Follies 
and  was  so  impressed  that  he  arranged  for 
an  audition  with  Gatti-Cazzazi,  director  of 
the  Metropolitan  Opera  House.  The  lat- 
ter told  Mary  that  she  had  an  opera  voice, 
but  at  least  two  years  in  Europe  would  be 
necessary  to  complete  her  studies,  perfect 
herself  in  foreign  languages  and  acquire 
an  opera  repertoire. 

The  young  singer  held  a  two  year  con- 
tract as  a  Follies  prima  donna,  at  an  en- 
viable salary.  She  persuaded  Ziegfeld  to 
release  her,  again  gambling  present  security 
and  fame  on  her  belief  in  herself.  She 
was  rewarded.  Two  years  later,  Mary  Lewis 
made  her  debut  at  the  Metropolitan,  as 
the  first  American  woman  to  be  starred 
by  this  august  opera  company,  and  one 
of  its  youngest  singers. 

Since  that  time,  she  has  appeared  in  con- 
certs all  over  the  country,  her  voice,  charm 
and  beauty  gaining  admiration  everywhere. 
Now,  audiences  all  over  the  world  will 
have  an  opportunity  to  see  and  hear  her. 

Mary  tells  me  that  she  refused  a  film 
offer  several  months  ago,  because  she  felt 
that  she  was  too  stout  to  screen  well.  One 
can  scarcely  believe  it  now.  She  weighs 
only  120  pounds,  which  spells  real  slen- 
derness  for  a  girl  five  feet  seven  inches 
tall.    Her  face  hasn't  a  surplus  inch. 

Incidentally,  it  is  interesting  to  know 
just  how  Mary  Lewis  lost  twenty-three 
pounds,  for  it  is  indicative  of  her  thor- 
oughness. 

She  refuses  to  diet,  feeling  that  this 
process  is  weakening  and  consequently  fatal 
to  a  singer's  vocal  power.  She  has  relied 
entirely  on  massage,  going  every  day  for 
six  weeks  to  Sylvia  Ulbeck,  the  masseuse, 
who  has  contributed  to  the  health  and 
beauty  of  so  many  screen  stars.  Sylvia 
suggested  to  Mary  that  two  or  three  times 
a  week  would  be  enough  if  she  found  the 
daily  beatings  and  slappings,  which  make 
up  reducing  massage,  too  strenuous  and 
painful.  Mary  decided  in  favor  of  the  daily 
treatment.  There  is  no  procrastination  or 
.softness  about  her.  If  she  is  going  any- 
where, she  takes  the  shortest  and  most 
direct  route  to  her  goal. 


Frank  Richardson,  stage  song  and 
dance   man,    who    made  good  in 
talkies.    "Follies  of  1930"  is  his 
next. 


125 

"Make 

a  splash 

with  a 

SWIM- 
KAP 


124 


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Continued  from  page  19 


coast,  I  can  quite  honestly  say,  struck  me 
as  exceedingly  beautiful.  But  neither  of 
them  enters  the  question.  Mrs.  Samuel 
Goldwyn,  wife  of  the  producer,  the  former 
Frances  Howard,  who  is  not  in  pictures, 
and  Greta  Garbo. 

"And  why  doesn't  Greta  enter? 

"I'll  tell  you.  She  is  such  a  great  ar- 
tist that  you  cannot  say  .she  belongs  to 
the  picture  industry  alone.  She  belongs 
to  the  world  of  art.  She  is,  of  course, 
the  outstanding  figure  in  the  film  colony, 
and  it  is  impossible  to  describe  to  you  the 
effect  she  has  on  the  whole  of  Hollywood. 
She  sees  nobody,  goes  nowhere.  'Please 
let  me  alone,'  is  apparently  her  slogan,  yet 
nobody  resents  it  and  nobody  is  jealous  of 
her.  She  is  the  one  artist  there  who  is 
so  great  that  everybody  stills  trivialities  and 
jealousies  and  bows  down  before  her. 

"And  now.  before  you  quarrel  with  me 
because  I  say  there  are  no  real  beauties 
in  Hollywood,  let  me  explain  to  you  that 
there  is  a  wide  divergence  between  the 
beauty  which  a  star  actually  possesses  and 
the  beauty  which  she  is  able  to  project 
on  the  screen.  Who  can  explain  the  chem- 
istry  of  the  mysterious  moving  picture 
camera?  A  person  in  private  life  who 
might  pass  unnoticed  in  a  crowd  may  have 
potentialities  for  amazing  beauty  after  she 
has  stood  before  the  clicking  camera.  And 
conversely,  a  woman  who  appears  amazingly 
beautiful  in  private  life  may  be  a  complete 
'wash-out'  on  the  screen.  That  is  the  rea- 
son I  found  no  real  beauties  in  Hollywood. 
That  is,  no  such  beauties  as  Lady  Anne 
Wellesley,  granddaughter  of  the  Duke  of 
Wellington  whom  I  consider  the  loveliest 
woman  I  have  ever  seen,  or  your  American 
Mrs.  Vincent  Astor  who  is  another  of  the 
pure,  patrician  type. 

"But  if  Hollywood  does  not  hold  true 
beauties,  I  met  many  men  and  women 
there  who  intrigued  my  fancy  for  a  variety 
of  reasons. 

"Take  Marion  Davies,  for  instance.  She 
is  a  darling — unquestionably  the  most  fas- 
cinating woman  in  screen  society.  She 
has  such  charm!  She  is  a  splendid  mimic, 
a  clever  dancer,  a  sweet  hostess — utterly 
appealing  in  her  ravishing  versatility. 

"Nothing  would  be  more  unfair  than  to 
look  on  Gloria  Swanson  as  a  favorite  of 
fortune,  which  some  of  her  photographs 
might  lead  you  to  believe  she  is.  When 
I  first  saw  Miss  Swanson,  she  was  staying 
at  a  Palm  Beach  hotel  with  her  young 
husband.  She  came  down  to  me  in  her 
dressing-gown  at  nine  thirty  in  the  morn- 
ing. I  gathered,  despite  her  wealth,  her 
fame,  and  her  charming  young  husband, 
an  impression  of  great  sadness  behind  her 
glamourous  personality.  In  her  young 
body  there  lurks  an  'old  soul' — the  aching 
want  of  something  which  is  destined  to  be 
perpetually  unsatisfied.  I  think  the  reason 
for  it  is  the  same  reason  why  George  Sand 
never  found  perfect  love — she  will  not  per- 
mit herself  to  be  mentally  dominated  by 
any  man  that  ever  existed.  She  has  fought 
alone.  She  lives  alone.  And  she  will  die 
alone,  without  the  support  of  any  com- 
forting personality.  She  wishes  it  that 
way! 

"The  most  amusing  and  unusual  person- 
age in  Hollywood  is,  of  course,  Lilyan 
Tashman.  This  woman  has  endless  dramatic 
possibilities.  You  know  that  she  has  not 
reached  the  top  yet,  being  a  featured 
player,  not  a  star.    She  is  subtle,  feline — 


a  white  panther.  Witty,  human,  discrim- 
inating, Tashman  knows  what  she  wants 
and  will  get  it.  She  views  the  world  as 
a  wide  horizon.  She  knows  it  is  not  cir- 
cumscribed by  the  confines  of  Hollywood 
Boulevard. 

"The  most  interesting  and  the  most  mis- 
cast woman  in  all  of  Hollywood  is  Evelyn 
Brent.  She  is  a  sophisticated  woman  of 
the  world  and  not  what  you  would  call  a 
'gunman's  moll,'  as  you  would  be  justified 
in  believing  from  the  films  you  have  seen 
her  in.  It  is  time  she  was  taken  out  of  the 
underworld  and  placed  in  the  drawing-room 
where  she  belongs.  She  would  be  splendid 
in  Frederick  Lonsdale's  sophisticated  plays. 
The  sort  of  thing  that  Margaret  Bannerman 
knows  so  well  how  to  do.  Brent  has  seen 
and  felt  the  tragedy  of  Hollywood — she  is 
one  of  those  who  realizes  that  'Hollywood 
is  funny  but  it's  not  a  joke.'  She  has  won 
her  Way  to  the  top  after  a  tremendous 
struggle  and  you  sense  it  when  you  start 
to  paint  her.  There  is  a  tenseness  in  her 
chin,  a  strength  to  her  mouth  which  some 
of  the  others  don't  have. 

"Myrna  Loy,  the  most  exotic  member  of 
the  film  colony,  is  another  who  has  felt  the 
teeth  of  Hollywood  on  her  slim  throat.  She 
has  been  up  against  it  more  than  once. 
The  result  is  seen  in  the  sadness  of  her 
eyes.  She  has  never  been  permitted  to 
give  the  kind  of  artistic  impersonations  that 
she  should  do.  She  is  fine,  sensitive,  the 
farthest  possible  type  from  the  half-breed 
characterizations  she  spends  her  days  in 
giving.  When  you  paint  her,  you  feel  a 
hidden  tragedy,  a  certain  sense  of  frustra- 
tion which  is  certainly  at  variance  with  the 
success  she  has  met. 

"And  now,  we  come  to  the  four  happiest 
people  in  Hollywood:  Joan  Crawford  and 
young  Douglas  Fairbanks,  Loretta  Young 
and  Grant  Withers.  They  have  'The  world 
at  their  feet  and  Heaven  at  their  finger- 
tips.' They  are  two  of  the  happiest  mar- 
ried couples  I  have  ever  encountered  in 
any  country. 

"Joan  and  young  Douglas,  as  you  have 
often  heard,  are  mad  about  each  other. 
No  other  word  can  describe  it.  When  I 
went  to  their  beautiful  home,  furnished  in 
the  English  style,  Joan  could  scarcely  bear 
to  have  Douglas  out  of  the  room.  They 
kissed  many  times.    Young  Mr.  Fairbanks 


William  Janney,  young  and  prom- 
ising, appears  with  Richard  Barth- 
elmess  in  "The  Dawn  Patrol." 


for    J  uly  1930 


125 


had  been  working  all  day  and  was  ex- 
tremely weary.  As  I  did  not  complete  my 
sketch  of  bis  wife  until  two  in  the  morning 
— when  I  do  my  best  work — he  had  to 
leave  and  go  to  bed,  since  he  had  an  early 
call  at  the  studio.  When  I  finished  Joan's 
portrait,  she  picked  it  up  and  rushed  with 
it  to  their  bedroom  to  show  it  to  him.  But 
he  was  asleep.  And  she  loved  him  too 
much  to  wake  him. 

"Young  Douglas  is  a  poet  as  well  as  a 
splendid  actor.  He  bows  a  song  of  piercing 
beauty.  He  is  also  an  artist  and  his 
sketches  are  much  like  those  of  Aubrey 
Beardsley  whose  drawings  his  wife  so  much 
resembles.  Extremely  sophisticated,  the  ex- 
traordinary thing  was  that  this  boy  who 
has  faced  all  the  cameras  in  the  world  was 
shy  when  I  went  to  paint  him.  He  didn't 
quite  knew  what  to  do  with  his  mouth. 

"These  fortunate  young  people  have 
everything  in  the  world  they  need  or  desire 
but  they  haven't  lost  a  certain  fine  quality 
which  keeps  them  searching  for  beauty  and 
loveliness. 

"Grant  and  Loretta  are  perfect  comple- 
ments to  each  other.  He  is  strong — a 
tough  guy — none  of  your  laughing  boys — 
but  a  gentleman  withal.  Intelligent.  Simple 
in  his  outlook.  Understands  what  is  worth 
having  and  is  going  to  get  it.  He  is  the 
perfect  husband  for  the  pretty,  gentle 
Loretta,  whose  eyes  hold  the  concentrated 
peace  of  all  the  Madonnas  since  the  begin- 
ning of  time.  This  pair,  too,  are  definitely 
happy.  They  have  but  two  wishes  left — 
to  explore  Europe  and  to  hunt  the  best  of 
everything  to  place  in  a  home  where  they 
hope  there  will  some  day  be  a  child" — 
perhaps  the  only  perfect  work  of  art  known 
to  man. 

~>  -  4- 

George  Arliss 

Continued  from  page  21 

"The  question  so  often  raised:  'Is  the 
talking  picture  an  art?"  is  one  I  have  to 
answer  in  the  affirmative.  Decidedly  so. 
It  is  a  combination  of  artistic  endeavor — 
the  actor,  the  director,  the  technician — plus 
the  machine.  But  the  machine  is  the  instru- 
ment which  welds  the  whole  together. 

"Another  query  so  often  raised  is:  'Can 
the  silent  screen  star  be  made  into  a  good 
talking  picture  actor?' 

"Why  not?  A  man  who  has  been  in  the 
silent  films  for  a  length  of  time  has  good 
material  in  him.  He  knows  how  to  move, 
he  understands  facial  pantomime.  If  he 
is  willing  to  give  study  and  patience  to  the 
cultivation  of  his  voice,  I  think  he  should 
stand  a  reasonable  chance. 

"But  it  is  not  only  the  silent  actor  that 
has  to  adapt  himself  to  talkie  technique. 
The  stage  star  has  things  to  learn  as  well. 
There  are  many  differences  but  let  us  take 
the  question  of  space.  You  are  more  re- 
stricted in  talkies  than  on  the  stage.  Where 
in  the  legitimate  theater  you  may  have  the 
whole  stage  to  stride  across,  in  pictures 
you  ordinarily  have  only  a  few  steps,  since 
the  movie  sets  are  smaller.  But  any  sea- 
soned actor  can  find  a  way  of  getting 
around  that.  If  you  have  played  in  one 
night  stands,  where  one  evening  you  are 
in  a  house  the  size  of  Union  Square  and 
the  next  night  in  one  the  size  of  a  bird 
cage,  you  learn  to  adjust  yourself  to  your 
civ  ironment — which  is  a  useful  lesson  in 
any  strata  of  society!" 


George  Arliss  is  only  one  of  the  many 
world    celebrities    who    tell  Screen- 
land  their  ideas  and  opinions  of  talk- 
ing pictures.     More  next  month! 


I  Was  Afraid  of  This 
New  Way  to  Learn  Music 

—  Until  I  Found  It  Was  Easy  As  A-B-C 


"FY 

I  J  to  believe  you  can  learn  to  play  the  piano 
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ing to  play  the  piano.  Music  had  always  been  for 
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listener. 

For  a  week  I  resisted  the  temptation  to  look 
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wrote  to  the  U.  S.  School  of  Music — without 
letting   Jack  know. 

Imagine  my  joy  when  the  lessons  started 
and  I  found  they  were  easy  as  A.  B.  C.  A 
mere   child   could   learn   them ! 

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Finally  I  decided  to  play  for  Jack.  He 
was  astonished.  "Why  .  .  .  why  .  .  ."  he 
floundered.  I  simply  smiled  and  went  on 
plaving.  But  soon,  of  course.  Jack  insisted 
that  I  tell  him  where  I  had  learned  .  .  .  when  .  .  . 
how?  vSo  I  told  of  my  secret.  And  what  did  Jack  do 
but  start  learning  the 
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play  your  favorite  instrument  by  note  thru  this 
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126 


SCREENLAND 


Pain  stops.  Corns  come  off 

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Hillman  Management 


In  New  York  —  Continued  from  page  95 


knew  how  to  sing — was  the  romantic  be' 
ginning  of  Stanley  Smith's  screen  career. 

Stanley  was  singing  in  "Robin  Hood," 
a  little  high  school  operetta  a  couple  of 
years  ago,  when  Leonore  Ulrich  heard  him 
and  induced  Belasco  to  give  him  the 
juvenile  lead  in  "Kiki,"  where  he  went 
over  big.  Then  came  stock  in  Omaha  and 
Houston,  and  the  next  thing  Stanley  knew, 
he  was  a  featured  player  in  "Honey"  and 
"Sweetie,"  sharing  honors  with  the  stars. 

Smith  is  an  awfully  likable  boy — quiet, 
modest,  but  with  a  sly  sense  of  humor. 
"It's  pretty  lucky  for  me  to  be  breaking 
into  pictures  like  this,"  he  said,  at  Marlene 
Dietrich's  luncheon.  But  I'm  rather  sure 
luck  had  little  to  do  with  it.  Smith  is 
handsome  and  a  good  trouper.  When  the 
call  came,  "Report  at  the  studio  in  the 
morning,"  Stanley  reported — with  the  goods. 
That's  the  answer. 

Marilyn  Miller,  who  does  a  commuting 
act  between  Hollywood  and  New  York — 
first  doing  a  talkie  on  the  west  coast  and 
then  a  musical  comedy  in  New  York — is 
on  her  way  back  to  California. 

Marilyn  is  America's  perennial  star. 
Since  she  first  kicked  up  her  heels  in 
"Sally"  and  gathered  the  heart  of  the 
United  States  into  her  pretty  white  hands, 
her  popularity  has  never  waned.  After 
ten  years,  Marilyn  is  still  at  the  top  of  the 
ladder  and  it  looks  as  if  she  is  going  to 
stay  there  for  a  long  time,  for  what  makes 


a  real  artist,  Marilyn  has:  talent,  beauty, 

and  a  passion  for  work. 

*  *  * 

'From  the  Manse  to  the  Metropolitan' 
— that's  a  thumb  nail  biography  of  Mary 
Lewis. 

Miss  Lewis  is  the  pretty  blonde  star  of 
the  Metropolitan  Opera  Company  who 
started  out  life  in  a  Methodist  Episcopal 
parsonage  in  Texas. 

At  sixteen  she  ran  off,  with  only  the 
clothes  on  her  back — three  pairs  of  stock' 
ings,  one  over  the  other,  four  sets  of 
underwear  likewise,  and  a  Peter  Thompson 
suit,  with  the  big  blouse  stuffed  full  of  her 
ribbons  and  little  trinkets. 

At  the  lunch  table  at  the  Algonquin, 
Mary  reviewed  her  life.  "First  I  toured 
in  musical  comedy,"  she  said,  "going  broke 
in  California  where  1  started  slamming  pies 
around  for  Christie  Brothers,  and  then  I 
got  a  craving  for  the  big  town.  In  New 
York,  Murray  Anderson  gave  me  a  job 
in  the  first  'Greenwich  Village  Follies.'' " 

From  here,  Mary  went  to  Ziegfeld;  then 
Paris,  London,  Vienna  and  Monte  Carlo 
in  grand  opera,  climaxing  her  career  in 
1926  when  she  made  her  debut  at  the 
Metropolitan,  from  which  company  of  fat 
sopranos  and  fatter  tenors  and  bassos, 
Mary  has  been  rescued  by  Pathe.  She  is 
soon  to  make  pictures  on  the  west  coast, 
so  keep  your  eyes  peeled  for  a  little  sweet' 
singing  gal  from  the  warm  sweet'smelling 
south. 


Come  Into  the  Kitchen  with  Billie  Dove 


Continued  from  page  97 


hostess  and  her  home. 

"I  never  try  to  cook  for  my  formal  din- 
ners. It  is  just  when  I  am  alone  that  I 
do  the  cooking,  usually  on  the  cook's  day 
off.  I  prefer  to  eat  at  home  rather  than 
go  out." 

Following  are  some  of  Miss  Dove's  favor- 
ite  recipes: 

POT  ROASTED  CHICKEN 
Cut  chicken  into  small  pieces  and  fry  in 
butter  until  brown.  Take  out  of  frying 
pan  and  put  in  pot.  Place  in  frying  pan, 
two  onions  sliced,  one  carrot  diced,  one 
green  pepper  cut  in  bits  and  one-fourth 
pound  mushrooms  cut  in  small  pieces.  Add 
one  and  one-half  cups  water,  one  and  one- 
half  cups  canned  tomatoes.  Let  simmer 
until  well  blended,  then  put  in  pot  with 
chicken.  Cover  and  cook  slowly  until 
chicken  is  well  done.  A  little  water  may 
be  added  from  time  to  time  if  necessary. 

MACAROON  CREAM 
Beat  yolks  of  two  eggs  and  mix  slowly 
with  two  tablespoons  sugar.  Add  slowly, 
one  cup  scalded  milk,  add  a  pinch  of  salt 
and  place  in  double  boiler  over  gas  and 
stir  until  slightly  thickened.  Add  one-half 
tablespoon  gelatine  which  has  been  dis- 
solved in  cold  water.  Mix  well,  then  strain 
into  dish.  Fill  pie  plate  with  macaroons 
broken  in  small  pieces,  place  in  oven  until 
crisp.  Cool,  then  roll  with  rolling  pin 
until  fine.  When  mixture  is  a  little  stiff, 
add  macaroons,  then  add  two  egg  whites 
beaten  to  a  stiff  froth.  Rinse  bottom  only 
of  pudding  pan  with  cold  water.  Around 
sides,  place  whole  macaroons,  pour  in  mix- 
ture, and  place  in  ice  box. 

FIG  DESSERT 
Remove   stems    from    one-half  package 


of  figs  and  cut  in  small  pieces.  Add  two 
tablespoons  sugar,  the  juice  of  half  a  lemon, 
place  in  pan,  cover  with  water  and  cook 
gently  for  about  twenty  minutes,  or  until 
soft.  Soak  one-half  tablespoon  gelatine  in 
one-fourth  cup  cold  water  until  dissolved, 
then  add  one-fourth  cup  boiling  water. 
Skim  floating  seeds  from  fig  mixture,  add 
gelatine  and  let  stand  until  cold.  Whip 
the  white  of  one  egg  and  a  half  cup  of 
cream  (separately)  fold  into  fig  mixture 
and  place  in  ice  box. 

SNOW  PUDDING 
Dissolve  one-half  tablespoon  gelatine  in 
one-eighth  cup  cold  water.  Add  one-half 
cup  boiling  water  and  one-eighth  cup  lemon 
juice.  When  cold,  place  bowl  containing 
mixture  in  pan  of  ice  water  and  beat  with 
an  egg  beater  until  foamy.  Add  -whites 
of  two  eggs  beaten  stiff  and  place  in  ice 
box. 

CUSTARD  FOR  SNOW  PUDDING 
Beat  yolks  of  two  eggs,  add  two  table- 
spoons sugar  and  mix  well.  Scald  one  cup 
of  milk  and  pour  slowly  over  egg  and 
sugar  mixture,  mixing  well.  Add  pinch 
of  salt,  a  few  drops  of  vanilla,  place  in 
double  boiler  over  gas  and  beat  mixture 
with  egg  beater  until  it  thickens. 

LEMON  SOUFFLE 
Beat  the  yolks  of  four  eggs  until  thick. 
Add  ten  tablespoons  sugar  gradually  and 
continue  beating  until  well  mixed.  Add 
grated  rind  and  juice  of  one  lemon,  lemon 
coloring  if  desired.  Cut  and  fold  in  the 
whites  of  four  eggs  beaten  until  dry,  turn 
into  a  buttered  pudding  dish,  set  in  a  pan 
of  hot  water  and  bake  thirty  minutes  in  a 
slow  oven.    Serve  with  or  without  sauce. 


for    July  1930 


111 


A  Poet  GoeS  tO  HollyWOod-Continued  from  page  25 


the  fray  which  ended  in  a  United  States 
welded  together  for  all  centuries  to  come. 
This  and  so  much  more,  I  didn't"  and 
couldn't  have  realized  unless  Stephen  Vin- 
cent  Benet  had  written  his  immortal  poem. 

If  you  will  open  his  book  at  page  218, 
you  will  find  the  philosophy  of  life  which 
guided  Abraham  Lincoln  through  all  his 
tragic  days.  It  is  a  philosophy  which  we 
sixtyfive  years  later  can  use  for  our  daily 
guidance — "with  malice  towards  none  and 
charity  for  all."  Lincoln,  through  Benet's 
mind  says: 

"I've  never  found  a  church  that  I  could 
join 

Although  I've  prayed  in  churches  in  my 
time 

And  listened  to  all  sorts  of  ministers 
Well,  they  were  good  men,  most  of  them, 
and  yet — 

The  thing  behind  the  words — it's  hard  to 
find. 

I  used  to  think  it  wasn't  there  at  all 
Couldn't  be  there.    I  cannot  say  that,  now. 
And  now  I  pray  to  You  and  You  alone. 
Teach  me  to  know  Your  Will.    Teach  me 
to  read 

Your   difficult   purpose   here,   which  must 
be  plain 

If  I  had  eyes  to  see  it.    Make  me  just. 

There    was   a  man   I    knew   near  Pigeon 
Creek 

Who  kept  a  kennel  full  of  hunting  dogs. 
Young  dogs  and   old,  smart  hounds  and 

silly  hounds.  _ 
He'd  sell  the  young  ones  every  now  and 

then 

Smart    as    they    were    and    slick    as  they 
could  run. 

But  the  one  dog  he'd  never  sell  or  lend 
Was  an  old  half-deaf  foolish-looking  hound 
You  wouldn't  think  had  sense  to  scratch 
a  flea 

Unless  the  flea  were  old  and  sickly  too. 
Most  -  days  he  used  to  lie  beside  the  stove 
Or  sleeping  in  a  piece  of  sun  outside. 
Folks  used  to  plague  the  man  about  that 
dog 

And  he'd  agree  to  everything  they  said, 


'No — he   ain't   much  on  looks — or  much 

on  speed — 
A  young  dog  can  outrun  him  any  time, 
Outlook  him  and  outeat  him  and  outleap 

him,  ' 
But  mister,  that  dog's  hell  on  a  cold  scent 
And,  once  he  gets  his  teeth  in  what  he's 

after, 

He  don't  let  go  until  he  knows  he's  dead  ' 

I  am  that  old,  deaf  hunting-dog,  O  Lord, 
And  the  world's  kennel  holds  ten  thousand, 
hounds 

Smarter  and  faster  and  with  finer  coats 
To  hunt  your  hidden  purpose  up  the  wind 
And  bell  upon  the  trace  you  leave  behind. 
But   when    even    they   fail    and   lose  the. 
scent. 

I  will  keep  on  because  I  must  keep  on 
Until  You  utterly  reveal  Yourself 
And    sink   my    teeth    in    justice    soon  or 
late  .  .  . 

I  should  have  tried  the  course  with  younger 

legs, 

This  hunting-ground  is  stiff  enough  to  pull 
The  metal  heart  out  of  a  dog  of  steel, 
I  should  have  started  back  at  Pigeon  Creek 
From  scratch,  not  forty  years  behind  the 
mark. 

But  you  can't  change  yourself,  and,  if  you 
could. 

You  might  fetch  the  wrong  jack-knife  in 
the  swap. 

It's  up  to  you  to  whittle  what  you  can 
With  what  you've  got  .  .  . 

Therefore  I  utterly  lift  up  my  hands 
To  You,  and  here  and  now  beseech  Your 
aid. 

I  have  held  back  when  others  tugged  me  on, 
I  have  gone  on  when   others   pulled  me 
back  .  .  . 

And  now,  I  stand  and  tremble  on  the  last 
Edge  of  the  last  blue  cliff,  a  hound  beat 
out, 

Tail  down  and  belly  flattened  to  the  ground. 
My  lungs  are  breathless  and  my  legs  are 
whipped. 

Everything  in  me'.s  whipped  except  my  will. 
I  can't  go  on.    And  yet,  I  must  go  on."  .  .  . 


Millionaire  Boys  Make  Good-  Cont.  from  page  27 


away — eight  miles  by  canoe  and  seventeen 
by  foot,  each  person  carrying  and  being 
responsible  for  his  own  household  goods 
and  personal  equipment. 

On  a  high  wooded  ledge  overlooking 
Rabbit  Lake,  along  the  old  water  course 
from  Montreal  to  Hudson  Bay,  the  historic 
grounds  of  the  Temiscamingues,  the  Otta- 
was  and  the  Abitiys — over  the  route 
d'Iberville  had  marched  his  half  wild  fol- 
lowers to  his  famous  attack  and  capture 
of  the  Hudson  Bay  Posts — the  young 
Burdens  established  the  nomadic  people  and 
from  October  until  the  following  April,  in 
far  below  zero  weather,  snow  and  storm, 
'shot'  the  scenes  of  the  picture. 

Real  tepees  of  birch  bark  and  skins  were 
built  for  the  Indian  village  and  primitive 
canoes  hollowed  from  trees,  snow  sleds 
and  shoes  fashioned  of  ancient  pattern — all 
things  used  and  made1  with  materials  found 
in  the  woods  before  the  coming  of  the  white 
traders  with  their  fire  arms  to  replace  bows 
and  arrows,  their  woolen  clothes,  machine- 
made  boots  and  tinned  foods. 

It  was  all  so  fascinating  that  these  two 
ultra-civilized  young  men  often  forgot  that 
it  was  only  'make  believe'  and  that  except 
for  the  magic  of  the  screen  when  the  last 


scene  was  taken  it  would  all  disappear:  the 
Indians  would  go  back  to  their  scattered 
huts  with  more  silver  dollars  than  they  had 
ever  dreamed  of  possessing;  and  they  would 
return  to  the  modern  life  of  the  twentieth 
century. 

But  the  making  of  this  Indian  epic  has 
interested  them  in  making  more  pictures 
and  already  these  two  resourceful  and  well- 
equipped  young  men  are  planning  to  make 
others. 

Shirley  has  been  working  for  months  in 
a  big  studio  near  New  York,  learning  more 
about  picture  making;  and  Douglas  spent 
recent  weeks  in  Hollywood  supervising  the 
sound  and  last  professional  details  of  "The 
Silent  Enemy"  which  had  to  be  added  be- 
fore its  release  to  the  public. 

For  dramatic  contrast  it  is  eminently, 
fitting  that  these  two  cousins  whose  lives 
have  been  so  far  removed  from  the  neces- 
sity of  earning  either  food  or  shelter  should 
not  only  have  financed  but  actually  partici- 
pated in  the  making  of  this  primitive  pic- 
ture. A  picture  which  tells  clearly, 
naturally  and  absorbingly  the  tremendous 
story  of  the  'silent  enemy,'  the  ever-present 
menace  of  hunger  which  hovers  over  these 
nomadic  people. 


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55  Different   Poses  of 
Eudolph  Valentino 
Bilhe  Dove  John  Gilbert 

HOLLYWOOD  SCREEN  EXCHANGE 
C rawer  V-l,  Dept.  F  Hollywood,  Calif.,  U.  S.  A. 


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Confessions  of  the  Fans 


Continued  from  page  10 


From  Old  Madrid 

I  would  like  to  call  attention  to  the 
amazingly  tolerant  attitude  taken  by  the 
Spanish  public  toward  American  talkies  and 
sound  films.  I  enclose  a  paragraph  trans- 
lated  from  the  leading  Madrid  daily,  con- 
cerning the  "Fox  Movietone  Follies." 

"In  the  film  now  showing  at  the  Callao 
Cinema,  the  principle  of  revues  is  strictly 
observed.  The  girls  are  very  beautiful  and 
their  numbers  a  model  of  accuracy  and 
good  taste.  So  far,  all  right;  but  our 
ignorance  of  English  prevents  us  from  en- 
joying the  undeniable  wit  displayed  in 
the  talking  parts.  Let  us  hasten  to  declare 
truthfully  that  the  whole  fault  is  ours  for 
not  having  learned  the  various  tongues  in 
turn  in  which  future  films  will  be  shown 
to  us:  German,  French,  Italian  and  Spanish; 
Spanish  spoken  by  actors  born  in  Spanish- 
American  countries  which  already  announce 
several  films  on  the  way  to  realization. 

"Apart  from  this  inconvenience,  'Fol- 
lies of  1929'  is  a  picture  discreet  in  its 
direction  and  magnificent  in  its  cast,  in- 
cluding such  artists  as  Sharon  Lynn,  Sue 
Carol,  Dixie  Lee,  Lola  Lane  and  David 
Rollins,  an  excellent  dancer  and  genial 
comedian." 

The  talent  of  the  American  films  is  ap- 
preciated, and  even  the  dialogue  is  tolerated 
by  a  usually  foreign-language-hating  public. 

Fred  W.  Flint, 
Savoy  Hotel. 
Paseo  del  Prado, .  26, 

Madrid,  Spain. 


Attention,  Charlie 

Why  are  talkie  love  scenes  laughed  at? 
— is  a  question  debated  by  many,  it  seems. 
My  conclusion  is  that  the  audiences  are 
so  thrilled  with  emotion  that  rather  than 
make  themselves  ridiculous  by  crying,  as 
they  feel  like  doing,  they  do  the  opposite 
and  laugh. 

I  can't  see  how  anyone  could  seriously 
consider  cutting  out  love  scenes  in  talkies 
or  silents.  Speaking  of  talkies  and  silents 
reminds  me  of  Charlie  Chaplin  who,  under 
no  circumstances,  it  seems,  will  make  talk- 
ies. Well,  what  I  want  to  know  is,  why 
doesn't  he  make  some  silents?  Does  he 
need  encouragement?  If  so,  let's  up  and 
at  him! 

Katharine  Rudin, 
624V2  North  Boston, 

Tulsa,  Oklahoma. 

A  Universal  Appeal 

When  I  think  of  the  movies,  I  recall 
these  wonderful  words  from  the  poet 
Wordsworth : 

"Our  birth  is  but  a  sleep  and  a  forgetting; 
The  soul  that  rises  in  us,  our  life's  star 
Hath  had  elsewhere  its  setting 
And  cometh  from  afar." 
Therefore,  the  movies  I  see  are  but  the 
outpouring  of  my  own  creative  imagination. 
To  me,  they  are  a  magic  carpet  whereby  I 
transport  myself  to  foreign  lands,  there  to 
learn  the  habits,  to  fathom  the  instincts,  to 
witness  the  joys  and  sorrows  of  a  strange 
people. 


Eddie  Cantor  congratulating  lucky  Eleanor  Hunt,  chorus  girl, 
who  was  selected  by  Samuel  Goldwyn  for  the  feminine  lead 
in  "Whoopee,"  opposite  Eddie. 


for    July  1930 


129 


Five  hundred  years  ago.  Shakespeare 
said,  "I  can  put  a  girdle  round  the  earth 
in  forty  minutes,"  and  today  through  the 
enlightenment  and  education  of  the  screen 
I  can  discern  in  forty  seconds  marvelous 
ideas  and  brilliant  thoughts  emanating  from 
such  pictures  as  "The  Birth  of  a  Nation," 
"Broken  Blossoms,"  "The  Four  Horsemen 
of  the  Apocalypse,"  "The  Ten  Command- 
ments." "The  King  of  Kings,"  "The  Divine 
Lady,"  and  "Disraeli." 

Long  live  the  movies,  for  they  are  bring- 
ing to  all  humanity  the  light  that  was  never 
on  land  or  sea,  and  making  the  whole 
world  safe  for  democracy! 

Mrs.  Nettie  E.  Samuelson, 
720  West  End  Avenue, 

New  York  City. 


Praise  for  Fine  Performers 

I  attend  the  movies  on  an  average  of 
twice  a  week  and  have  discovered  an  in- 
teresting fact  about  them.  For  example, 
one  night  I  go  to  see  "The  Love  Parade," 
"General  Crack"  or  some  other  film  that 
has  created  a  big  stir  in  the  cinema  world, 
and  what  do  I  get?  A  fairly  good  picture 
with  fairly  good  acting,  sometimes  over- 
done, but  in  most  respects  highly  satisfac- 
tory. The  next  night,  I  attend  a  showing 
of  "Oh,  Yeah,"  "Acquitted,"  "The  Racke- 
teers," etc.,  films  that  have  won  little  or 
no  praise  from  the  press.  In  almost  every 
instance  I  see  an  excellent  picture  that  is 
absorbing  in  plot  and  rather  thrilling  in 
action — a  picture  that  contains  some  really 
superb  acting. 

Mind  you,  I  do  not  intend  this  letter 
as  a  criticism  of  Barrymore's  or  Chevalier's 
acting.  Indeed  not!  I  merely  want  to 
call  attention  to  the  fine  performances 
given  by  Robert  Armstrong,  Carol  Lombard, 
Sam  Hardy,  Margaret  Livingston,  Lloyd 
Hughes  and  Jean  Arthur  in  the  past  year. 
Come  on,  let's  give  some  of  these  'lesser 
lights'  a  hand! 

Walter  A.  O'Keefe, 
587   Western  Avenue, 

Lynn,  Mass. 


Voice  Brings  Reality 

How  wonderful  to  mount  the  magic 
carpet  of  the  movies,  and  with  the  whole 
world  before  us  for  a  brief  interval,  journey 
far  from  the  monotony  of  every  day 
existence. 

It  has  added  infinitely  to  the  joy  of  life 
to  have  known  romance  with  our  beloved 
Valentino,  to  enjoy  the  pantomicic  genius 
of  Chaplin;  the  infectious  comedy  of  Lloyd; 
the  superlative  voice  of  Tibbett;  the  irre- 
sistible charm  of  Chevalier;  to  thrill  at  the 
dangers  of  the  underworld  with  Bancroft, 
and  so  on  through  the  album  of  splendid 
stars  who  have  changed  for  us  the  entire 
complexion  of  life  itself. 

Looking  back,  I  wonder  how  we  managed 
without  the  marvelous  Vitaphone,  which 
touched  our  movie  stars  and  Pygmalion- 
like gave  them  the  flame  of  life;  no  longer 
shadows  flitting  across  the  screen,  but  liv- 
ing, talking  friends,  each  made  dearer  a 
thousand-fold  by  the  sound  of  the  voice 
in  spoken  words. 

What  pleasure  to  look  forward  to  spend- 
ing an  evening  with  our  beloved  stars,  to 
see  pictures  of  the  books  we  haven't  time 
to  read;  when  the  land  of  'make-believe' 
becomes  a  living,  breathing  reality,  and  one 


may  truly  say  with  Monte  Cristo,  "The 
World  is  Mine!" 

Mrs.  Lilian  G.  Reid, 
Hotel  Cecil,  640  So.  Main  St., 

Los  Angeles,  Cal. 

Too  Many  'It'  Types? 

Let's  have  a  little  more  of  the  Ruth 
Chatterton — Janet  Gaynor  type  of  film, 
sunny  pictures,  emphasizing  the  mental  just 
a  wee  bit  more  than  the  physical.  Let's 
forget  'It'  and  'sense  appeal'  for  just  a 
breathing  spell. 

'It'  depends  too  much  upon  a  fluff  of 
hair,  spectacular  clothes  and  make-up  for 
appeal.  I  admire  the  girl  who  can  still  be 
appealing  and  hit  you  between  the  eyes 
with  her  charm  even  when  attired  in  a 
plain  dress,  hair  straight  over  her  ears  or 
tied  up  with  a  string  a  la  wash-day.  To 
me,  this  girl  has  more  of  the  'it,'  'theirs,' 
and  'them,"  than  all  the  other  'itters.' 

The  Janet  Gaynor  type  of  actress  is  like 
the  girl  who  doesn't  have  to  cuddle  too 
close  to  the  boy-friend  driver  but  believes 
a  little  bit  in  remote  control. 

Irene  Ruch, 

Box  192 
Luckey,  Ohio. 

"Things  I  Am  Thankful  For": 

Maurice  Chevalier's  caressingly  sweet 
smile. 

Lilyan  Tashman  and  her  polished  sophis- 
tication. 

Mary  Pickford's  splendid  performance 
with  her  husband  in  "The  Taming  of  the 
Shrew." 

Olive  Borden's  return  to  the  role  of  the 
'sensible.' 

The  privilege  of  hearing  Bebe  Daniels' 
lovely  voice  in  "Rio  Rita." 

Bessie  Love,  and  her  chance  "Broadway 
Melody."    She  did  the  rest. 

Gary  Cooper,  and  the  fiery,  adorable 
sweetheart  Lupe  Velez.  May  she  burn 
many  more  films! 

Ramon  Novarro's  splendid  voice. 

Novarro's  wistful  sweetheart  in  "Devil 
May  Care,"  Dorothy  Jordan. 

And  for  Hollywood  and  pictures  and  the 
great  stride  they  have  made. 

Rita  Bagley, 
P.  O.  Box  208, 
Miami,  Florida. 


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SCREENLAND 


Amos  'n'  Andy, 
Dr.  De  Forest  And  Other  Big  People 


IN  our  April  issue,  we  gently  but  firmly  scolded  Dr. 
Lee  De  Forest,  'father  of  radio.'    We  didn't  like  a 
speech  he  made  in  which  he  delivered  a  broadside 
against  radio  program  sponsors  for  putting  too  much 
advertising  into  their  entertainment. 

We  considered  his  criticism  unfair  especially  to  such 
outstanding  programs  as  Lucky  Strike,  Colgate-Palmolive, 
Fleischmann  Yeast,  Pepsodent,  Atwater-Kent  and  Metro- 
politan Life.  We  could  have  mentioned  dozens  of  others 
who  are  contributing  hours  and  hours  of  wholesome  enter- 
tainment to  millions  of  homes.  So  on  behalf  of  Screen- 
land's  readers  and  a  host  of  legitimate  program  sponsors, 
to  whom  radio  broadcast  owes  a  debt  of  gratitude,  we 
upbraided  the  'father'  of  radio  for  nagging  his  child's  nurse. 

Dr.  De  Forest,  having  read  our  complaint,  wants  to  make 
himself  clear,  and  in  an  interesting  letter  to  Screenland, 
says  among  other  things: 

"I  regret  that  you  have  apparently  missed  entirely  the 
point  which  I  was  trying  to  put  across  in  my  criticism 
of  advertising  by  radio  broadcast.  If  you  had  read  my 
remarks  carefully  you  would  have  seen  that  I  paid  due 
tribute  to  the  meritorious  Sponsored  Program,  realizing 
full  well  the  debt  that  Radio  Broadcast  owes  to  such 
advertising  ...  If  you  have  been  a  consistent  listener 
to  radio  programs  you  must  admit  that  two  or  three 
years  ago  advertising  by  radio   was  of  a   far  higher 


quality,  less  offensive  than  at  the  present  time.  It  surely 
must  be  apparent  that  this  tendency  to  devote  more 
and  more  time  to  straight  sales  talk  and  to  more  fre- 
quently interrupt  programs  by  advertising  announce- 
ments has  steadily  become  worse  .  .  . 

"Of  course  everyone  is  entitled  to  his  own  opinion. 
Some  of  the  programs  which  you  list  I  should  also  cata- 
logue among  the  advertisers  who  understand  best  the 
art  of  building  good-will  among  their  radio  listeners. 
Others  in  the  list  I  would  most  certainly  black  out. 
One  or  two  in  particular  have  been  especially  offensive." 

This  is  an  evil  which  will  correct  itself.  The  remedy  is 
wholly  in  the  hands  of  the  public.  Those  hands  can  be 
depended  upon  to  tune  out  offensive  programs,  and  leave 
their  sponsors  talking  to  themselves. 

We  don't  know  what  programs  Dr.  De  Forest  would 
'black  out.'  The  color  sounds  suspicious,  but  we  venture 
the  prediction  that  the  "Fresh  Air  Taxicab  Company  of 
America,  Incorpulated,"  will  be  a  'going'  concern  for 
some  time  to  come,  because  Amos  'n'  Andy  have  finally 
been  captured  by  the  movies,  the  RKO  having  signed  these 
famous  radio  stars  to  make  a  picture,  "Check  and  Double 
Check."  A  two-year  radio  contract  at  $100,000  a  year; 
a  thirty-week  vaudeville  engagement  at  $5,000  a  week; 
and  a  million  dollars  for  the  picture — some  'propolition!' 

THE  PUBLISHERS 


Amos  V  Andy  have  been  captured  by  the  movies.  The  famous  radio 
entertainers  have  been  signed  by  RKO  and  will  be  seen  on  the  screen 
in  "Check  and  Double  Check,"  their  first  picture. 


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brilliance  as  invitingly  luscious  as  sun  =  ripened  cherries, 
sweet  reason  why  men  gather  around,  as  bees  to  honey 
—  a  good  reason  why  girl  rivals  frown  and  pout. 

Cfiscovered  and  perfected  by  beauty-chennsls,  SPhaniorn 
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Threesome 

Perhaps  you'll  never  make  a  hole- 
in-one.  Most  golfers  don't.  (It's 
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more  delightful  tie  that  hinds  .  .  . 
the  universal  appreciation  of  what 
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pleasure  and  enjoyment  of  the 
game.  Camels  are  fragrant,  refresh- 
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©  1930,  R.  J.  Reynolds  Tobacco  Co.,  Winston-Salem,  N.  C. 


HOW  TO  HAVE 
A  HOLLYWOOD  FIGURE 


oriel s  most (famous 


in  an  amazing  way,  Tangee  changes 
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natural  skin  tones,-  $1.  Night  Cream, 
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for    August    19  30 


WILL  R 

Will  Rogers  seasick  on  a  liner  — 
JsQr  f  riding  to  hounds  with  an  English  lord 
J[  — as  the  stern  parent — as  the  not-so- 
stern  parent — enough  laughs  for  a  lifetime! 
You've  read  his  stuff  in  the  papers,  heard  him 
over  the  radio,  seen  him  on  the  stage  and  in 
that  hilarious  Fox  hit/'They  Had  to  See  Paris." 
Now  comes  the  high  spot  in  his  career,  t 
It's  the  funniest  role  Will  Rogers^: 
ever  played!  And  the  best  show  he 

was  ever  in! ...  A  sparkling  love- 
story,  too,  with  an  exceptional 
supporting  cast  including  Irene 
Rich,  Maureen  O'Sullivan,  Lumsden  Hare, 
Bramwell  Fletcher  and  Frank  Albertson. 


®C1B  77404 


AUGUST,  1930  Vol.  XXI,  No.  4 


THIS  MONTH'S  PROGRAM: 


Cover  —  J<[ancy  Carroll. 

Painted  by  Rolf  Armstrong. 

Sound  News.  By  Evelyn  Ballarine     ....  6 

Confessions  of  the  Fans.  Letters  from  Readers  1 1 

Honor  Page  —  Phillips  Holmes   16 

Editorial.  By  Delight  Evans  .   17 

How  to  Have  a  Hollywood  Figure. 

By  Philadelphia  Jack  O'Brien   18 

Oh,  I  Say,  Ripping,  What?  P.  G.  Wodehouse. 

By  Gray  Strider   20 

Ziegfeld  Picks  Them!  By  Helen  Ludlam    .    .  23 

A  Singing  Lesson.  By  Ramon  Novarro    ...  24 

Their  Little  Mannerisms. 

By  Gordon  R.  Silver   26 

Jack  VS.  'Mike.'  John  Gilbert.  By  Marie  House  28 

/  Gershwin  -  Urban.  By  Rosa  Reilly    .    .    .    .  30 

The  Boy  Friends'  Girl  Friends. 

By  Ruth  Tildesley   32 

Rogers:  Ginger.  By  Lela  Rogers   34 

The  Stars  and  Their  Hobbies  35-50 

Helen  Arrives.  Helen  Twelvetrees. 

By  Sydney  Valentine   51 

A  Beach  Ensemble  Offered  by  Anita  Page  52 

Wheeler.  By  Bert  Wheeler   54 

Woolsey.    By  Sam  Williams   55 

Fore!  "Follow  Thru"  Location. 

By  Helen  Ludlam    .........  56 

Dogs  of  Destiny.  By  Myrene  Wentworth    .    .  58 

Shoot  if  You  Must!   60 

Amos  'n'  Andy.   By  Evelyn  Ballarine      ...  61 

Hollywood  Goes  Places.  By  Grace  Kingsley  .  62 

What  Keeps  the  Talkies  Talking? 

By  William  J.  Reilly   64 


Yes,  Yes,  Jeanette!  Jeanette  Loff. 

By  Charles  Carter   66 

The  Most  Beautiful  Still  of  the  Month    .  67 

Walter  Huston  —  A  Portrait   68 

William  Farnum  —  A  Portrait    69 

Claudia  Dell  —  A  Portrait   70 

Ronald  Colman  —  A  Portrait   71 

Gloria  Swanson  and  Her  New  Clothes  .    .  72 

William  Bakewell  —  A  Portrait   74 

Dorothy  Revier  —  A  Portrait   75 

Joan  Crawford  —  A  Portrait   76 

Richard  Dlx  —  A  Portrait   .77 

Virginia  Valli  —  A  Portrait   78 

Jack  Mulhall  —  A  Portrait    79 

From  Broadway  to  Malibu   80 

A  Summer  Style  Show,  Starring  Mary  Lewis  82 
Garbo's  New  Screen  Lover.  Gavin  Gordon. 

By  Ralph  Wheeler    83 

Reviews  of  the  Best  Pictures. 

By  Delight  Evans   84 

Critical  Comments  on  Current  Films    .    .  86 

Revuettes  of  Other  Pictures   88 

Building  for  Beauty.  Screenland' s  Beauty  De- 
partment. By  Anne  Van  Alstyne   ....  90 
What  Happened  to  Barry  Norton. 

By  John  Godfrey    .   92 

Summer  Recipes.  Dorothy  Mackaill    ....  94 

The  Stage  in  Review.  By  Benjamin  De  Casseres  96 

Hot  from  Hollywood.  K[ews  and  Gossip  .    .  98 

Ask  Me.  By  Miss  Vee  Dee   104 

"The  King  is  Dead — Long  Live  the  King!" 

By  the  Publishers   130 


Published  monthly  by  Screenland  Magazine,  Inc.  Executive  and  Editorial  offices:  45  West  45th  Street,  New  York  City. 
Alfred  A.  Cohen,  President;  Delight  Evans,  Vice-President;  H.«  ('.  Olpe,  Secretary.  Frank  J.  Carroll,  Art  Director, 
E.  Philip  Willcox.  Advertising  Director.  Chicago  office:  333  North  Michigan  Avenue,  Chicago;  William  H.  Capelle, 
Western  Manager.  Manuscripts  and  drawings  must  be  accompanied  by  return  postage.  They  will  receive  careful  attention 
but  Screenland  assumes  no  responsibility  for  their  safety. 

Yearly  subscriptions  .$2.50  in  the  United  States,  its  dependencies,  Cuba  and  Mexico;  $3.00  in  Canada;  foreign.  $3.50. 
Entered  as  second-class  matter  November  30,  1023,  at  the  Post  Office  at  New  York,  N.  Y.,  under  the  act  of  March  3, 
1879.     Additional  entry  at  DuneHen.   N.   J.     Copyright  1930.     Member  Audit  Bureau  or  Circulations. 


for    August    2  9  3  0 


GOOD  TIMES 


NEWS  FROM 
PARAMOUNT! 


-THE  TWO  IILACK  CHOWS" 
SI  O  II  A  K  »»•  MACK 
•'•  A  >  Y  B  O  P  V  '  S    W  A  R  " 


ENTERTAINMENT  news  that 
will  thrill   millions!  The 
GREATER  New  Show  World  is 
here!   70  Paramount  Pictures 
strong!  Attuned  to  these  chang- 
ing times.  In  key  with  this  fast 
moving  world.  <f  Under  their 
spell  you're  lost  to  the  world.  Liv- 
ing the  stories.  Laughing  at  some 
plots.  Thrilled  to  the  bone  with 
others.  Charmed  with  the  tunes 
in  the  musicals.  Delighted  with 
everything!  <J  It's  a  GREATER 
New  Show  World  now. 
And  Paramount  is  lead- 
ing it.  Paramount — with 
18  years  of  supremacy. 
Paramount  —  with  the 
biggest  stars.  Paramount 
— with  the  keenest  show- 
manship minds.  Para- 
mount—  with  the  great- 
est resources,  organiza- 
tion, and  man  power  in 
motion  pictures.  <f  Tell 
your  Theatre  Manager 
now  you  want  to  see  all 
these  70  GREATER  New 
Show   World   Pictures ! 


(paramount  Cpictur&s 

PARAMOUNT   PLBLIX    CORPORATION    ADOLPH    ZUKOR,    PRES.      ^^^J  PARAMOUNT    BUILDING,    NEW  YORK 


SHOW 


T  O  W  > 


SCREENLAND 


LMILLEIL 

Theatrical  Division 

I.  MILLER  shoes 
just  naturally  belong 
to  the  talking  screen  I 


For  more  than  a  gener- 
ation, I.  Miller  Shoes 
have  graced  the  feet  of 
A  m  e  ri  ca's  foremost 
actresses.  On  the  legit- 
imate and  musical  com- 
edy stage,  on  the  silent 
screen,  and  on  all  the 
famous  vaudeville  cir- 
cuits,—  I.  Miller  Shoes 
have  played  an  impor- 
tant  part  in  every 
important  performance. 

How  natural,  then,  to 
find  these  charming, 
distinctive  slippers  now 
in  the  talking  pictures 
.  .  .  How  rightly  they 
seem  to  belong  to  this 
newest  art  .  .  .  And 
how  fortunate  that  the 
fashionable  women  of 
the  audience  can  also 
enjoy  the  sheer  beauty 
of  I.  Miller  creations! 


NEW  YORK  CHICAGO  HOLLYWOOD 

Shops  and  Agencies 
in  all  principal  cities 


MGRICAN  ACAD6MY 
OF  DRAMATIC  ARTS 

Founded  1884  by  Franklin  H.  Sargent 


The  foremost  institution  for  Dramatic  and 
Expressional  Training.  The  instruction  of  the 
Academy  furnishes  the  essential  preparation  for 
Directing  and  Teaching  as  well  as  for  Acting. 

The  training  is  educative  and  practical,  de- 
veloping Poise,  Personality  and  Expressional 
Power,  of  value  to  those  in  professional  life 
and  to  the  layman. 

Teachers'  Summer  Course  July  7th  to  Aug.  15th 

Catalog  describing  all  Courses  from  the  Secretary 
Room  253-H,  CARNEGIE  HALL,  New  York 


By 

Evelyn 
Ballarine 


Listening  in  on  the  Latest  Talkers 


H 


again. 


ear  ye!    Hear  ye! 

The  vogue  for  Westerns  con' 
tinues.  The  great  open  spaces 
are  being  glorified  by  the  movies 


Just  a  short  time  ago  when  a  player  was 
put  into  a  western  picture  it  was  either 
punishment  for  too  much  temperament  or 
a  sure  .sign  of  the  player's  decline.  How 
times  have  changed!  Now  it's  a  sign  of 
glory.  To  be  given  a  lead  in  a  western 
means  said  player  is  riding  on  the  crest 
of  the  sound  waves. 

Gary  Cooper  seems  to  be  Paramount's 
favorite  cow-boy  with  Richard  Arlen  run' 
ning  a  close  second.  Cooper's  ■  next  is 
"The  Man  from  Wyoming,"  and  Dick  is 
working  on  "Spanish  Acres."  Johnny  Mack 
Brown  is  another  western  glorifier.  He  has 
been  selected  by  King  Vidor  for  the  lead 
in  "Billy,  the  Kid,"  a  colorful  picturiza- 
tion  of  the  career  of  the  famous  western 
boy  bandit.  William  Boyd,  Pathe's  bright 
boy,  goes  western  in  "Raw-Hide."  Warner 
Baxter  made  the  first  successful  western 
talker,  "In  Old  Arizona."  He  followed 
that  up  with  "Romance  of  the  Rio  Grande" 
and  "The  Arizona  Kid."  Raoul  Walsh  is 
directing  "The  Big  Trail."  Ambitious  plans 
are  being  made  for  this  picture.  Wonder 
if  this  will  be  "The  Covered  Wagon"  of 
the  talkies?  A  new  personality  is  featured 
as  the  male  lead.  He  is  John  Wayne,  a 
former  football  player  of  the  University  of 
Southern  California,  and  this  marks  the  be- 
ginning of  his  movie  career.  Myrna  Loy 
and  George  O'Brien  have  climbed  the  west- 
ern band-wagon.  You'll  see  them  in  "The 
Last  of  the  Duanes."  Even  Ann  Harding! 
She's  starring  in  "The  Girl  of  the  Golden 
West,"  to  say  nothing  of  Eddie  Cantor. 
He's  making  "Whoopee"  which  is  Ziegfeld's 
musical  glorification  of  that  grand  old  west. 

Bebe  Daniels'  next  is  "Reaching  for  the 
Moon"^and  we  don't  mean  honeymoon. 
Bebe  and  Ben  Lyon  will  have  been  married 
before  this  talker  is  started.  It's  the  Irving 
Berlin  picture  for  which  Bebe  has  been  bor- 
rowed from  RKO  and  Jack  Whiting,  who 
will  play  the  male  lead,  has  been  borrowed 
from  First  National.  Whiting  is  a  new 
type  of  screen  hero.  He  was  one  of  the 
leading  juveniles  on  Broadway.  He's  tall, 
slight,  red-headed  and  freckled.  You'll  first 
see  him  in  "Top  Speed"  for  First  National. 
And  we  predict  that  you're  going  to  like 
him  very  much. 


If  you  enjoyed  Winnie  Lightner  and 
Joe  Brown  in  "Hold  Everything"  be  pre- 
pared for  more  fun  because  they  are  to 
make  a  sequel  to  it  called  "Set  Right." 
And  if  you  like  that,  Winnie  and  Joe  will 
continue  to  turn  on  their  personalities  and 
give  you  even  bigger  and  better  comedies. 

And  if  you've  enjoyed  the  silent  pro- 
ductions  of  the  following  films  you're  in 
for  a  treat  because  they  are  being  re-made 
into  talkies. 

Richard  Barthelmess  made  "Tol'able 
David"  and  "Tol'able  David"  made  Richard 
and  now  Columbia  Pictures  are  going  to 
make  a  talker  of  this  silent  film  classic. 
Richard  Barthelmess  will  not  be  in  the 
cast  and  as  yet  no  David  has  been  selected. 

Norma  Talmadge  made  screen  history 
with  her  charming  interpretation  of  the 
heroine  of  "Smilin'  Thru."  Joan  Bennett 
is  in  the  sound  version  of  this  film.  While 
Mary  Pickford  is  filming  "Secrets,"  under 
the  sound  title  of  "Forever  Yours." 

Lupe  Velez  has  the  lead  in  the  sound 
transcription  of  "Resurrection."  Dolores 
Del  Rio  rose  to  stardom  because  of  her  work 
in  the  silent  film.  Edwin  Carewe,  who 
directed  the  silent  picture,  will  also  direct 
the  talker. 

However,  Warner  Brothers  are  re-mak- 
ing "The  Sea  Beast,"  with  John  Barrymore 
in  the  lead  again.  This  time  they  are 
calling  it  "Moby  Dick." 

If  you're  a  Buddy  Rogers'  fan — -and  who 
isn't? — you'll  be  interested  to  know  that 
his  younger  brother,  Bh,  (yes,  that's  his 
real  name)  has  signed  a  contract  with  Par- 
amount. Now  we'll  have  a  younger  edition 
of  Buddy,  because  Bh  looks  very  much 
like  his  famous  big  brother.  If  you  look 
closely  you'll  see  him  in  "Follow  Thru," 
Buddy's  next  picture. 

Believe  it  or  not — Jim  Tully  is  to  have 
a  role  in  John  Gilbert's  next  picture,  "Way 
for  a  Sailor."  They've  buried  the  hatchet 
and  are  friends  once  more. 

We've  had  many  war  pictures  depicting 
man's  work  in  the  World  War,  but  now 
Pathe  is  making  "Beyond  Victory"  dealing 
with  woman's  part  in  the  big  fracas.  Hur- 
ray for  our  side!  The  cast  is  an  imposing 
one — Ann  Harding,  William  Boyd,  Robert 
Armstrong,  Helen  Twelvetrees,  James 
Gleason,  Zasu  Pitts,  Russell  Gleason  and 
Bert  Roach. 


for    August  1930 


7 


r 


A 


NEW  movie  season  is  aim 


Mak 


e  sure 


it  b 


cher  talki 


rings  yo 
snterta 


attractions 
theatre?  Wouldn't  you  like  to  help 
pick  the  pictures  you're  going  to 
see  in  the  next  twelve  months? 

Wouldn't  you  like  to  make 
sure  of  seeing  your  favorite 
stars,  and  the  biggest  hits 
of  the  coming  season? 


8 


SCREENLAND 


Tell  youi/Xthedtre  'Manager  you  want  to  Jee 


k   a  /arnerbros 


FIRST  NATIONAL 


i 


ITAPHONE 


RIGHT  now  your  theatre  manager  is  selecting  his  attractions 
for  the  coming  year.  He's  trying  to  choose  the  ones 
YOU'LL  like  best. 

You  can  help  him  decide  by  telling  him  YOUR  choice!  He'll  be 
GLAD  to  know  your  preference  so  that  he  can  more  closely 
accommodate  your  tastes. 

To  help  you  in  your  selection,  WARNER  BROS,  and  FIRST 
NATIONAL,  exclusive  Vitaphone  producers,  announce  here  in 
advance  their  amazing  production  programs  for  1930-31. 

Look  over  these  lists  . . .  Notice  the  wealth  of  famous  stars  . . . 
the  brilliant  stories  by  favorite  authors  . . .  the  wonderful  enter- 
tainment values  these  titles  promise. 

Compare  them  with  any  other  group  of  pictures  announced 
for  the  coming  year  . .  .Then  use  the  ballot  on  the  second  page 
following  to  indicate  your  choice. 


( Tides  and  casts  are 
subject  to  change  in  a 
few  instances.) 


for    August  1930 


WARNER  BROS.  PICTURES  for  1930-1931 


JOHN  BARRYMORE 
in  "MOBY  DICK" 

From  the  famous  novel  by  Herman  Melville. 
With  Joan  Bennett. 
• 

JOHN  BARRYMORE 

In  a  second  spectacular  production. 
• 

"VIENNESE  NIGHTS" 

All  in  Technicolor 

Their  first  original  romance. 
By  Sigmund  Romberg  and  Oscar 
Hammerstein  2nd. 
• 

"CAPTAIN  APPLEJACK" 

From  the  long-run  stage  hit.   With  John 
Halliday,  Mary  Brian  and  other  stars. 
• 

"MAYBE  IT'S  LOVE" 

With  the  All 'American  Football  Team 

And  Joe  E.  Brown,  Joan  Bennett. 


GEORGE  ARLISS 
in  "OLD  ENGLISH" 

From  the  celebrated  play  by  John 
Galsworthy.  With  a  star  cast. 
• 

"FIFTY  MILLION  FRENCHMEN" 

The  greatest  musical  comedy  in  years  in 
New  York,  filmed  entirely  in  Technicolor. 
• 

"THE  OFFICE  WIFE" 

By  Faith  Baldwin. 

• 

"THE  LIFE  OF  THE  PARTY" 

All  in  Technicolor 

With  Winnie  Lightner,  Irene  Delroy 
and  others. 
• 

"THE  DANUBE  LOVE  SONG" 

All  in  Technicolor 

A  lavish  romance  by  famous  Oscar  Strauss. 


AL  JOLSON  in  "BIG  BOY" 

All  Laughsl 

"SIT  TIGHT" 

With  Winnie  Lightner,  Joe  E.  Brown, 
Irene  Delroy. 
• 

"RED  HOT  SINNERS" 

With  Winnie  Lightner. 

• 

"NANCY  FROM  NAPLES" 

Irene  Delroy,  Charles  King  and  10  other 
stars  in  a  comedy  by  celebrated  Elmer  Rice. 
• 

"CHILDREN  OF  DREAMS" 

Magnificent  romance  by  Oscar 
Hammerstein  2nd  and  Sigmund  Romberg. 
• 

AND  MANY  OTHERS 
Also"VITAPHONE  VARIETIES" 

The  finest  of  all  "Short  Subjects." 


FIRST  NATIONAL  PICTURES 
for  1930-1931 


STARS  d»<i 
PICTURES 


RICHARD  BARTHELMESS 
in  "THE  DAWN  PATROL" 

A  vast  production  and  a  perfect 
Barthelmess  story. 
• 

RICHARD  BARTHELMESS 
in  "ADIOS" 

The  brilliant  star  in  the  kind  of  part  that 
made  him  famous. 
• 

"THE  GIRL 
OF  THE  GOLDEN  WEST" 

One  of  the  greatest  stage  plays  of  all  time, 
to  be  filmed  with  Ann  Harding,  James 
Rennie  and  7  other  stars. 
• 

OTIS  SKINNER  in  "KISMET" 

With  Lorerta  Young 
One  of  the  stage's  greatest  stars  in  his 
most  famous  hit. 
• 

"THE  TOAST  OF  THE  LEGION" 

All  in  Technicolor 

From  the  glorious  Victor  Herbert  hit, 
"Mile.  Modiste,"  with  a  tremendous  cast. 
• 

"MOTHER'S  CRY" 

From  the  famous  best-selling  novel. 
• 

"TOP  SPEED" 

Joe  E.  Brown  and  Jack  Whiting  in  a  great 
Broadway  success. 

"THE  BAD  MAN" 

Walter  Huston  and  5  other  stars  in  a 
celebrated  stage  comedy. 


MARILYN  MILLER 

in  "SUNNY" 

By  Otto  Harbach  and  Oscar 
Hammerstein  2nd.  Music  by  Jerome  Kern. 
• 

"WOMAN  HUNGRY" 

All  in  Technicolor 

With  Lila  Lee,  Sidney  Blackmer,  Fred  Kohler 
and  5  other  stars. 
• 

"BRIGHT  LIGHTS" 

All  in  Technicolor 

With  Dorothy  Mackaill,  Frank  Fay  and  8 
more  stars. 
• 

"RIGHT  OF  WAY" 

From  the  famous  novel   by  Sir  Gilbert 
Parker,  with  Conrad  Nagel,  Loretta  Young 
and  others. 
• 

"THE  CALL  OF  THE  EAST" 

First  original  screen   production  by  the 
brilliant  composer  and  author,  Jerome  Kern 
and  Otto  Harbach. 

"CAPTAIN  BLOOD" 

Glorious  sea  adventure  from  the  thrill- 
packed  pages  of  Rafael  Sabatini. 
• 

"THE  HONOR  OF  THE 
FAMILY" 

With  Walter  Huston. 

• 

AND  MANY  OTHERS 


>/M03O-l93l 


10 


SCREENLAND 


Cast  your 


Vitaphone  is  the  registered 
trade-mark  of  The  Vita- 
phone  Corporation.  Color 
scenes  by  the  Technicolor 
process. 


WARNER  BROS.  PICTURES,  INC.  S.  L. 

321  West  44th  St.,  N.Y.  C. 

I  should  like  to  see  all  of  the  Vitaphone  pictures  which  Warner 
Bros,  and  First  National  plan  to  produce  this  coming  year. 
Please  send  me  a  photograph  of 

(Insert  oame  of  any  star  mentioned  in  this  announcement.) 

(Signed)  „  _  _  

(Address)  _  - 

(City  &  State)  


WARNER  BROS. 


FIRST  NATIONAL 


und  VITAPHONE 


STARS  dndPICTU  RES 


YOU  have  just  read  on  the  preceding  page  the 
most  ambitious  array  of  super-productions  any 
company  has  ever  dared  to  plan! 

Entertainment  values  that  would  ordinarily  be  spread 
over  two  years  or  more,  will  be  concentrated  by  these 
two  famous  producers  in  a  single  season! 

Many  of  them  will  be  radiant  with  the  resplendent 
tints  of  Technicolor...  and  ALL  will  have  the  perfect 
tone  of  Vitaphone. 

If  you  enjoyed  "Disraeli", "Gold  Diggersof  Broadway", 
and  the  scores  of  other  great  Vitaphone  successes 
released  last  year,  you  will  want  to  be  sure  to  see  the 
stars  and  new  productions  of  the  companies  that  have 
proved  theirpreeminence  byturning  out  hits  like  these. 

To  help  bring  these  exciting  shows  to  your 
theatre,  use  the  ballot  below  NOW!  Sign 
it  and  mail  it  today  to  Warner  Brothers 
Pictures,  Inc. 

Your  choice  will  be  brought  to  the  attention  of  your 
theatre  manager,  and  you  will  receive  —  FREE  —  a 
beautiful  photograph  of  your  favorite  star. 
Also  write  or  'phone  your  theatre  manager  direct 
to  let  him  know  that  you  wish  to  see  these 
famous  stars  and  important  productions. 


for    August    19  30 


11 


CONFESSIONS 

of  the 

FANS 


This  is  YOUR  department,  to  which  you 
are  invited  to  contribute  your  opinions  of 
pictures  and  players.  For  the  cleverest 
and  most  constructive  letters,  not  exceed- 
ing 200  words  in  length,  we  offer  four 
prizes.  First  prize,  $20.00;  second  prize, 
$15.00;  third  prize,  $10.00;  fourth  prize, 
$5.00.  Next  best  letters  will  also  be 
printed.  Contest  closes  August  10,  1930. 
Letters  in  praise  of  Screenland  are  not 
eligible  in  this  contest  and  should  be  ad- 
dressed directly  to  the  editor.  Send  your 
Confessions  to  the  Fans'  Department, 
Screenland  Magazine,  45  West  45M 
Street,  New  York  City. 

The  Editor 


FIRST  PRIZE  LETTER 
$20.00 

Much  has  been  said  against  motion  pic- 
tures. Yet  on  they  have  marched,  magnifi' 
cently  oblivious  of  the  carping  of  small 
minds  until  now  they  have  become  one  of 
the  great  molding  and  educational  factors 
in  our  lives. 

Having  been  a  high  school  teacher  for 
a  number  of  years,  I  have  invariably  noticed 
that  my  best  informed  pupils  are  those  who 
attend  pictures  regularly.  I  have  tried  on 
my  pupils  a  general  information  test  I  have 
devised  and  the  motion  picture  lovers  always 
get  the  highest  score.  Romanticized  as  the 
historical  films  are,  they  are,  nevertheless, 
based  upon  historical  truths.  Whatever 
dramatic  falsification  is  necessary,  but  adds 
the  color  and  glamour  which  fire  the  imag- 
ination of  the  young.  Boys  and  girls  who 
see  pictures  like  "The  Patriot,"  "Ben  Hur," 
and  "Disraeli"  become  aware  of  the  dra- 
matic intensity  of  history;  they  become 
eager  to  understand  the  past,  speculate  about 
the  future — the  true  historical  perspective. 

So  convinced  am  I  of  the  educational 
value  of  motion  pictures  that  one  hour  each 
week  I  set  aside  for  the  discussion  of  that 
art  and  on  my  recommended  list  of  maga- 
zines are  several  motion  picture  publications. 

Sarah  Royce, 
14  Autumn  Street, 

Boston,  Mass. 

SECOND  PRIZE  LETTER 
$15.00 

Along  with  the  gift  of  life  is  bestowed 
a  hunger  more  treacherous  to  existence  than 
the  slow  starvation  of  the  body: — the  hunger 
of  the  soul.  To  many  of  us  is  destined 
the  monotony  of  just  living.  A  hall  bed- 
room, the  dime  stores,  the  landlady's  choice 
of  cretonne  framing  the  small  view  of  the 
world  afforded  us,  compose  the  settings  of 
our  lives.  The  high  moments  we,  with 
effort,  have  to  gather  unto  ourselves. 

The  picture  world  with  its  exquisite  set- 
tings, lovely  raiment  and  nonchalant  accept- 
ance of  it  all  are  an  'Open  Sesame'  to  our 
imaginations,  our  desires,  our  ideals.  The 
stars,  what  a  mission  is  theirs!  Through 
them,  inspiration  reaches  those  of  us  who 
are  irrevocably  bound  to  our  existence  by 
ties  of  duty  or  our  limitations.  They 
bring  to  us  our  Shakespeare,  our  Gobelin, 
our  Rembrandt.  They  interpret  our  dreams, 
and  to  them  we  offer  our  thanks  and  our 
adoration. 

Jeanne  Marie  Marcee, 

Long  Beach,  Calif. 

THIRD  PRIZE  LETTER 
$10.00 

During  all  the  'pros  and  cons'  concern- 
ing talkies  I  have  silently  condemned  those 
who  were  not  wise  enough  to  realize  the 


greatness  of  this  new  step  in  the  picture 
industry.    Now,  I  can  keep  silent  no  longer. 

I  live  in  the  middle  of  the  island  Oahu, 
Territory  of  Hawaii,  some  twenty  miles 
from  Honolulu.  The  theaters  we  have  out 
here  are  roughly  constructed  shacks.  We 
have  no  music  except  a  few  pitiful  piano 
players  and  it  has  been  hard  to  judge  fairly 
the  merits  of  any  picture  under  such  cir- 
cumstances. 

Now,  some  wise  and  beneficent  person 
has  seen  to  it  that  one  of  these  theaters 
is  equipped  with  sound  facilities  and  we  are 
off  into  the  beautiful  realms  of  make-be- 
lieve as  often  as  we  please.  Music  from 
the  screen  has  shot  the  drab  silence  to 
bits.  The  quick  repartee  has  given  us  un- 
told joy.  In  fact,  the  movies  are  the  first 
word  in  entertainment  de  luxe  for  all  of 
us. 

Mrs.  N.  Massaro, 
c/o  Lt.  Massaro, 

8th  F.  A., 
Schofield  Barracks,  T.H. 


FOURTH  PRIZE  LETTER 
$5.00 

Some  people  say  the  movies  are  demor- 
alizing. How  about  "Sins  of  the  Fathers," 
"The  Volga  Boatman,"  "The  Virginian," 


Marion  Davies'  fans  like  her  be- 
cause she's  a  real  blues  chaser, 
and  because  she  is  always  natural 
and  sincere. 


many  others?  The  movies  never  hurt  anyone 
and  anyone  who  thinks  they  do  is  so  de- 
praved and  lacking  in  romantic  sense  that 
nothing  registers  on  his  mind  but  the  evil 
necessary  to   any  good  picture. 

The  movies  are  educational  not  only  in 
a  historical  and  classical  sense  but  in  the 
fundamental  truths  of  life.  They  have 
struck  ten  times  deeper  into  the  soul  of 
manhood  and  womanhood  than  all  the  re- 
formers, teachers  and  preachers  put  to- 
gether. I  spent  six  years  in  college  and 
the  only  thing  I  can  remember  outside  of 
the  bad  habits  I  learned  there  is  amo,  amas, 
amat.  But  the  simple  truths  I  have  learned 
from  the  movies  are  etched  in  steel. 

The  movies  are  inspirational.  They  lift. 
They  are  the  finest  institution  in  the  world 
today  and  their  appeal  is  universal.  The 
ancient  philosophers  say  that  if  we  behold 
a  thing  long  enough  we  shall  become  like 
it.  Where  could  you  find  braver  or  love- 
lier examples  of  manhood  or  womanhood 
than  on  the  silver  screen?  By  their  works 
we  shall  know  them  and  any  girl  or  boy 
who  worships  at  their  feet  is  going  to  land 
in  the  right  camp,  bank  on  that! 

Richard  Marvin, 
468  Vernon  Street, 

Oakland,  Cal. 


In  Hollywood 

Nothing  new  under  the  sun?  Maybe  not, 
on  the  wind-blown  plains  of  Kansas,  but 
beneath  that  arching  light  of  a  Hollywood 
sun,  the  transforming  mirror,  the  masque 
of  masquerade  often  hides  the  strange  fea- 
tures of  star  followers. 

I  know  a  slim  boy  who  actually  lives  in 
one  of  the  big  studios,  sleeps  by  the  front 
door,  sits  all  day  in  the  casting  office, 
works  once  a  week  perhaps;  a  little  foreign 
prop  boy  who  keeps  trained  spiders  in  his 
hair  to  prove  his  ability  to  executives;  an 
old  woman  who  weeps  tragically  every  day 
at  eight  different  casting  windows;  a  dark- 
eyed  young  senor  who  is  dined  and  feted 
as  a  European  newspaper  correspondent  and 
is  living  on  $5.00  per  week;  a  prize  fighter 
who  was  hit  too  hard  on  the  head  and  now 
decorates  the  space  behind  the  ropes  in 
pictures;  an  Italian  count  with  four  mana- 
gers and  nothing  to  count  on.  Pagliacci? 
No,  just  Hollywood. 

Helen  Marie  Jelliffe, 
1543  N.  Bronson  Ave., 

Hollywood,  Cal. 


'Ray  for  Marion  Davies ! 

Who  has    not   been    intrigued    by  the 

movies?  When,  after  a  hard  day's  work, 

we   can  forget   every  worry   and  live  in 

a  world  all  our  own,  they're  fairyland. 


12 


SCREENLAND 


Ramon  Novarro  is  en- 
tering upon  a  new 
phase  of  his  picturesque 
career  since  he  sang  in 
"Devil  May  Care."  His 
next  will  be  "The 
Singer  of  Seville." 


Kay  Johnson  came  from 
the  stage  equipped  with 
a  good  voice  and  the 
charm  of  a  fine  person- 
ality. T he  fans  approved 
of  her  at  once,  so  she's 
staying. 


In  the  days  when  the  talkies  were  only 
a  probability,  who  was  among  the  first  in 
chasing  our  blues  away?  None  other  than 
Marion  Davies!  A  sure  cure  for  the  blues. 
If  you  can  see  Marion  and  not  laugh,  then 
there's  no  hope. 

In  "Not  So  Dumb,'"  her  latest  side-split- 
ting  fun-feast,  one  just  can't  wear  a  frown. 
She's  so  appealing,  so  capricious.  'Ray  for 
Marion! 

Lucille  Teets, 
5432  St.  Clair  Street, 

Detroit,  Mich. 


A  Big  Hand  for  Ramon  Novarro 

"Devil  May  Care"  is  a  delightfully  happy 
picture;  after  seeing  it,  how  merrily  we 
went  our  homeward  way!  For  such  is  the 
power  Ramon  Novarro 's  inimitable  quali- 
ties have.  He  possesses  that  same  sweet' 
ness  and  guile  without  which  Pied  Piper 
never  could  have  charmed  the  children; 
that  same  capacity  for  laughter  and  pathos 
which  endeared  Ireland's  ballad-man,  Tom 
Moore,  to  his  followers;  the  verve  and  dash 
found  in  march  music  with  its  underlying 
wistfulness;  the  joyousness  of  the  spring- 
time; the  delicate  beauty  of  fine  etchings — 
and  his  nobility  and  purity  of  countenance 
are  an  inspiration  to  all. 

I  hope  that  many  more  pictures  of  this 
type  will  be  created  for  the  enjoyment  of 
Ramon  Novarro's  sincere  admirers  here  in 
America,  and  all  over  the  world. 

Barbara  Mueller, 
8418  South  Morgan  Street, 

Chicago,  111. 


She's  On  Her  Way 

This  letter  concerns  a  young  lady  who 
has  come  to  us  from  the  stage  since  the 
dawn  of  the  new  movie  era.  Although 
more  or  less  inconspicuous  now,  she  is  on 
the  road  to  great  popularity  and  to  star- 
dom. 

Picture  a  tall,  fair,  charming  girl,  add 
a  marvelous  voice  expressing  the  personality 
and  feelings  of  its  possessor  better  than 
any  voice  I  ever  have  heard,  the  most  win- 


ning smile  seen  for  many  a  long  day,  and 
you  have  a  perfect  conception  of  this  amaz- 
ing young  actress  who  makes  even  incon- 
ceivable characters  seem  real  and  quite 
human. 

Her  name?  Kay  Johnson. 

K.  J.  Pollak, 
2929  Belmont  Avenue, 

Baltimore,  Md. 


What  Do  Talkies  Teach? 

With  the  entrance  of  the  talkies  a  wave 
of  protest  broke  forth.  "The  peace  and 
beauty  of  the  screen  is  forever  gone,"  cried 
half  of  the  people.  "But  the  talkies  will 
teach  us  things,  including  how  to  speak 
and  pronounce  correctly,"  cried  the  other 
half. 

But,  are  the  talkies  really  helping  us  to 
speak  English  correctly?  I  say,  no.  And 
to  those  who  .say  otherwise,  I  answer,  "Oh, 
yeah?" 

Why?  Because  half  of  the  pictures  re- 
leased are  spoken  with  foreign  accents.  As 
for  me,  instead  of  acquiring  better  English, 
I  have  acquired  something  quite  different — 
something  like  a  French  accent  mixed  with 
Spanish  polka  dots  and  an  English  and 
Hungarian  border.  Some  lingo,  what? 
And  slang! — after  seeing  "The  Cock-Eyed 
World,"  "Hot  For  Paris"  and  "Mister 
Antonio"  I  could  qualify  any  day  as  an 
East  Side  newsboy. 

I  vas  tole  you  anudder  ting  dot  vas 
de  matter  mit  de  talkies.  Ve  haf  got  too 
much  musical  comedy! 

Ann  Jamack, 
496  East  143d.  Street, 
New  York  City. 


New  Magic  for  Old 

For  years  I  found  escape  from  the  oft- 
annoying  realities  of  life  in  a  good  screen 
play.  To  me  it  was  an  excursion  to  the 
realm  of  make-believe,  accompanied  by  ex- 
quisite music,  music  to  suit  every  mood  and 
incident  of  the  picture. 

Then  I  saw  my  first  talkie  and  what  a 
disappointment!     And    what    a    feeling  of 


dismay  accompanied  the  knowledge  that  this 
innovation  would  eventually  supplant  the 
magic  of  the  silent  drama.  From  now  on 
we  must  listen  to  metallic  sounds,  voices 
that  lisped  and  seemed  for  all  the  world 
to  issue  from  a  1910  model  gramaphone. 

But  this  was  the  infant  talkie.  And_  it 
would  be  as  wise  to  compare  it  with 
the  present  talking  picture  as  to  compare 
the  first  crude  work  of  the  amateur 
with  the  perfect  creation  of  the  master. 

Recently,  I  witnessed  a  drama  with  the 
incomparable  Ronald  Colman  and  the  win- 
some Ann  Harding  in  the  leading  roles. 
Here  was  new  magic  for  old — the  magic 
of  beautiful,  trained  voices  and  the  tense 
realism  of  the  spoken  drama.  The  talkie  is 
here  to  stay.    More  power  to  it! 

Elsie  Glick, 
911— 15th.  Avenue,  So., 

Minneapolis,  Minn. 


Wants  Pictures  for  Children 

In  my  humble  estimation  there  is  some- 
thing wrong  with  the  movies!  Perhaps  not 
from  an  adult's  point  of  view  but  from  a 
child's.  Have  you  noticed  that  the  Friday 
night  and  Saturday  afternoon  audiences  are 
comprised  mostly  of  children?  And  do  they 
like,  and  do  we  like  them  to  see,  so  much 
of  torrid  love  scenes,  crook  pictures  and 
wild  westerns? 

Why  can't  some  enterprising,  imaginative, 
romantic  producer  (or  isn't  there  such  a 
combination?) — produce  a  series  of  pictures 
for  children?  All  the  old  classics:  "Cin- 
derella," "Hansel  and  Gretel,"  "Peter  Pan," 
(how  entrancing  with  sound!)  "Snow 
White" — there  are  many  others.  Why  can't 
we  give  our  children  a  few  charming  fairy 
tales  instead  of  our  machine-age  dramas? 
Realizing  the  possibilities  of  sound,  color 
and  trick  photography  in  connection  with 
producing  these  fairy  tales,  can't  you  see 
how  fascinating  they  would  be  for  children? 
Not  to  mention  a  few  adults  like  myself. 
What  about  it? 

K.  Sanson, 
1617  Marengo  Ave., 
South  Pasadena,  Cal. 


for    August    19  30 


13 


ILTBD/ 


A  Womans  Master 
Stroke  put  Her  Sweet- 
heart into  the$10,000 
a  Year  Class...  eMade 
Him  a  Social  and 
business  Leader.... 


By  Marie  Rogers 


WHEN  Jimmy  Watson  proposed 
to  me,  he  was  making  $25.00 
a  week.  I  had  grown  to  care  for 
him  a  lot.  And  I  wouldn't  have 
minded  sacrifices  if  Jimmy  had  any 
prospects.  But  he  didn't  seem  to 
be  getting  anywhere,  and  I  didn't 
want  to  be  tied  to  a  failure.  After 
some  hesitation,  I  told  him  so. 

"You  have  ability,  Jimmy,  but 
nobody  but  I  know 
it.  You  are  too  timid 
and  self-conscious. 
When  somebody 
speaks  to  you,  you've 
hardly  a  word  to  say. 
You  get  all  flustered 
and  embarrassed 
when  you're  asked  to 
give  an  opinion.  I 
can't  marry  you  un- 
less you  make  some 
effort  to  improve 
yourself."  Of  course 
lie  was  hurt  and  in- 
dignant. But  I  was 
firm,  so  we  parted. 

Then  one  night  a  year  later,  I  re- 
ceived the  surprise  of  my  life.  Jimmy 
drove  up  to  the  house  one  evening  in 
a  beautiful  sport  roadster,  dressed  like 
a  fashion  plate.  His  manner  was  en- 
tirely changed,  too.  He  seemed  supremely 
self-confident,  and  had  become  an  inter- 
esting conversationalist.  I  could  not  help 
but  marvel  at  the  change  in  him  and 
told  "him  so.    He  laughed  delightedly. 

"It's  a  long  story,  Marie,  but  I'D  cut 
it  short.  You  remember  that  my  chief 
fault  was  that  I  was  afraid  of  my  own 
voice?  Well,  shortly  after  we  parted,  I 
heard  tales  of  a  popular  new  home  study 
method  by  which  any  man  could  quickly 


What  20  Minutes  a  Day 
Will  Show  You 

How  to  talk  before  your  club  or  lodge 
How  to  propose  and  respond  to  toasts 
How  to  address  board  meetings 
How  to  make  a  political  speech 
How  to  tell  entertaining  stories 
How  to  make  after  dinner  speeches 
How  to  converse  interestingly 
How  to  write  letters 
How  to   sell  more  goods 
How  to  train  your  memory 
How  to  enlarge  your  vocabulary 
How  to  develop  self-confidence 
How  to  acquire  a  winning  personality 
How    to    strengthen    your  will-power 

and  ambition 
How    to    become    a    clear,  accurate 
thinker 

How  to  develop  your  power  of  con- 
centration 

How  to  be  the  master  of  any  situ- 
ation 


become  a  powerful  speaker — able  to  dom- 
inate one  man  or  thousands — a  way  that 
banished  embarrassment,  self-conscious- 
ness, and  timidity  in  a  surprisingly  short 
time. 

"That  remarkable  course  was  the  mak- 
ing of  me,"  said  Jimmy.  "With  only  a 
few  minutes'  practice  each  day,  I  made 
strides  in  a  few  weeks  that  amazed  me. 
It  wasn't  long  before  I  went  to  the  boss 
with  an  idea  that  had  been  in  my  mind 
about  reorganizing  the  delivery  service, 
but  which  I  had  been  afraid  to  take  up 
with  anybody.  You 
should  have  seen  me 
addressing  that  confer- 
ence of  department  heads 
in  the  president's  office 
— I  just  bowled  them 
over.  That  was  a  few 
months  ago.  Since  then 
I've  climbed  ahead  fast. 
The  boss  is  sending  me 
to  Europe  next  month  to 
make  a  study  of  depart- 
ment store  management 
over  there.  By  the  way, 
Marie,  how  would  you 
like  to  go  to  Europe  as 
Mrs.  Watson?" 

Today  I  am  the  proud 
wife  of  a  successful  hus- 
band ...  a  business 
leader  of  our  city.  We 
travel  in  a  very  exclusive  set  and  enjoy 
the  luxuries  of  life.  Turning  Jimmy  down 
had  proved  to  be  the  second  best  thing 
that  could  have 
happened  to  him. 
It  was  a  lucky 
hunch,  though,  that 
prompted  him  to 
develop  his  speak- 
ing ability  which 
revealed  his  nat- 
ural ability. 


Today  the  rich 
rewards  in  busi- 
ness, popularity  in 


social  life, 
positions  of 
honor  in  the 
community,  go 
to  the  man 
who  is  an  in- 
teresting, dom- 
inating, per- 
suasive speak- 
er. And  there  is  no  magic  or  mystery 
about  this  talent.  No  matter  how  timid 
or  self-conscious  you  are  when  called 
upon  to  speak,  you  can  quickly  bring  out 
your  natural  ability  and  become  a  pow- 
erful speaker  through  this  amazing  new 
training. 

Send  for  This  Amazing  Book 

This  new  method  of  training  is  fully  de- 
scribed in  a  very  interesting  and  informative 
booklet  which  is  now  being  sent  to  everyone 
mailing  the  coupon.  This  book  is  called,  How 
to  Work  Wonders  with  Words.  In  it  you  are 
shown  how  to  conquer  stage  fright,  self-con- 
sciousness, timidity,  bashfulness  and  fear — 
those  things  that  keep  you  silent  while  men 
of  lesser  ability  get  what  they  want  by  the 
sheer  power  of  convincing  speech.  Not  only 
men  who  have  made  millions,  but  thousands  of 
others  have  sent  for  this  book — and  are  un- 
stinting in  their  praise  of  it.  You  are  told 
how  to  bring  out  and  develop  your  priceless 
"hidden  knack" — the  natural  gift  within  you — 
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power  and  real  success.  You  can  obtain  your 
copy   absolutely   free    by   sending   the  coupon. 

NORTH  AMERICAN  INSTITUTE 
3601    Michigan    Ave.,    Dept.    632-C,    Chicago,  III. 


NORTH  AMERICAN  INSTITUTE, 
3601    Michigan    Ave.,    Dept.  632-C 


Now  Sent  FREE! 


Chicago,  Illinois. 

Please  send  me  FREE  and  without  obligation 
my  copy  of  your  inspiring  booklet.  How  to  Work 
Wonders  with  Word*,  and  full  information  re- 
garding your  Course  in  Effective  Speaking. 


Name 


Address 
City  


14 


SCREENLAND 


ftOAft 


LION 


ANNOUNCES    THE  GREATEST 


Metro-Goldwyn-Mayer  wilt  again  demonstrate  that  it  is  the  greatest 
producing  organization  in  the  industry.  The  company  that  has  ''more 
stars  than  there  are  in  heaven" — the  greatest  directors  —  the  most 
famous  composers — the  most  marvelous  creative  and  technical  resources 
— pledges  itself  to  continue  producing  pictures  as  wonderful  as  THE 
BIG  PARADE,  BEN  HUR,  THE  BROADWAY  MELODY,  MADAME  X, 
HOLLYWOOD   REVUE,   OUR   DANCING  DAUGHTERS,  THE 
ROGUE  SONG,  ANNA  CHRISTIE,  THE  DIVORCEE— to  mention 
only  a  few  of  the  great  M-G-M  pictures  that  have  taken  their 
place  in  Filmdom's  Hall  of  Fame.  No  wonder  LeoVoars  his  approval  as  he 
looks  forward  to  the  greatest  year  Metro-Goldwyn-Mayer  has  ever  had! 


METRO-GOLD 

^  More  Stars  Than 


for    August    19  3  0 


l? 


METRO-GOLD  WYN-MAYER 


PRODUCTION  SCHEDULE  IN  ITS  HISTORY 


A  few  of  the  big  pictures  to  come 


Madame  Satan' 

(Directed  by 
Cecil  B.  DeMille) 


Billy  the  Kid' 

(Directed  by  King  Vidorj 


The  March  of 
Time" 

(With  'more  stars  than 
there  are  in  heaven') 


Jenny  Lind' 

with 

Grace  Moore 
The  World's  Illusion' 
The  Great  Meadow' 
Naughty  Marietta' 
Uanee,  Fool,  Uance 

"War  Nurse' 


Al  Boasberg 
A.  Paul  Mairker 

Branden 

Neil  Brandt 
Frank  Butlei 
John  Colton 
Mitzie  Cummings 
Ruth  Cummings 
Edith  Ellis 
Joseph  Farnham 
Edith  Fitzgerald 
Martin  Flavin 
Becky  Gardiner 
Willis  Goldbeck 
Robert  Hopkins 
Cyril  Hume 
William  Hurlburt 
John  B.  Hymer 
Marion  Jackson 
Laurence  E.  Jackson 
Earle  C  Kenton 
Hans  Kraly 
John  Lawson 
Philip  J.  Leddy 
Charles  MacArthur 
Williard  Mack 
Frances  Marion 
Gene  Markey 
Sarah  Y.  Mason 
Edwin  J.  Mayer 
John  Meehan 
Bess  Meredyth 
James  Montgomery 
Jack  Neville 
Lucille  Newmark 
Fred  Niblo,  Jr. 
J.  C  Nugent 
George  O'Hara 
Samuel  Ornitz 
Arthur  Richman 
W.  L.  River 
Madeleine  Ruthven 
Don  Ryan 
Harry  Sauber 
Richard  E.  Schayer 
Zelda  Sears 
Samuel  Shipman 
Lawrence  Stallings 
Sylvia  Thalberg 
Wanda  Tuchock 
Jim  Tully 
Dale  Van  Every 
Claudine  West 
Crane  Wilbur 
~P.  G.  Wodehouse 
Miguel  de  Zarraba 


16 


SCREENLAND 


Phillips  Holmes,  son  of  Tay- 
lor, comes  into  his  heritage 
in  "The  Devil's  Holiday." 
Hitherto  known  and  liked 
as  a  handsome  juvenile  of 
some  promise,  Phillips  has 
his  great  chance  in  the  new 
Nancy  Carroll  picture  and 
takes  full  advantage  of  it. 


He  crashes  through 
with  a  superb  per- 
formance of  romantic 
youth  in  the  throes  of 
first  love.  Nice  boy, 
good  actor! 


SCREENLAND 

Honor  Page 

won  by 

Phillips 
Holmes 


"The  Devil's  Holiday"  is 
reviewed  among  the  six 
best  pictures  of  the 
month  in  this  issue.  All 
we  can  add  is,  don't  miss 
it.  Nancy  Carroll,  the 
star,  shares  her  dramatic 
honors  with  Phillips 
Holmes  and  is  really  en- 
titled to  half  this  Honor 
Page,  except  that  she 
already  has  all  of  our 
current  cover! 


Left:  a  touching  scene 
from  the  picture  of  the 
month,  with  Miss  Carroll 
as  Halite,  who  marries 
a  rich  man's  son  for 
profit,  only  to  learn  from 
the  boy,  played  by  Phil- 
lips Holmes,  a  new  defi- 
nition of  love.  It  is 
young  Holmes'  first  big 
role  and  his  portrayal 
indicates  he  is  ready  for 
more  big  ones. 


THE  EDITOR'S  PAGE 


WHERE  are  all  the  lit- 
tle smarties  who  said 
that  television  would 
never  be  perfected 
within  their  lifetimes?  Yes,  where 
are  they? 

<(  Why,  they're  all  standing  in  the 
corner  with  their  faces  to  the  wall, 
trying  to  hide  their  blushes  and 
lack  of  imagination.  They  are  the 
descendants  of  the  smarties  who 
scoffed  when  Fulton  was  fussing 
around  with  his  silly  old  steam- 
boat;  and  Edison  was  tinkering 
with  his  gadgets  over  in  the  wilds  of  New  Jersey; 
and  the  Wright  boys  were  doing  the  wrong  things 
in  the  air.  Yes;  those  smarties  who  thought  movies 
were  just  a  passing  fancy  until  they  could  no 
longer  deny  the  evidence  of  their  own  eyes;  then 
they  began  to  poke  fun  at  the  phonograph  and 
radio,  and  finally  doubted  seriously  if  these  here, 
now,  new-fangled  talking  pictures  would  ever  be  a 
success. 

C  Come  on  out  of  the  corner,  you!  Yes,  and  you. 
Join  our  party  and  see  the  fun.  We're  peering 
around  corners  and  poking  into  things.  And  the 
latest  find  is — television.  And  practical,  too.  You 
don't  believe  it?  Well,  just  ask  some  of  the  boys 
who  happened  to  be  up  in  Schenectady,  New 
York,  one  smart  spring  day  of  this  year.  In 
Proctor's  RKO  Theater  television  stepped  onto  the 
screen  to  stay.  No,  you  won't  get  your  Garbo  via 
television  for  some  time  to  come.  But  the  television 
performance  in  Schenectady — some  vaudevillians 
and  singers — was  reported  to  be  pretty  good. 
Aurally,  they  say,  clearer  than  any  talking  picture 
heard  so  far;  and  optically  far  ahead  of  any  previous 
television  show. 

tf.  It's  only  a  question  of  time,  now,  before  the  prac- 
tical commercial  application  of  television  involves 
every  motion  picture  audience.  I  just  want  to  tell 
you  about  it  so  that  you'll  be  prepared.  Don't  say 
I  didn't  warn  you.  Your  grand-daddy  would  have 
been  grateful  if  somebody  like  me  had  given  him 
the  low-down  on  that  funny  new  invention  of 
Alexander  Graham  Bell's. 


C  George  Bernard  Shaw  admits 
he  is  converted  to  the  talkies  and 
that  his  plays  may  be  filmed.  John 
Drinkwater,  who  wrote  the  play, 
'Abraham  Lincoln,"  is  writing 
the  biography  of  Carl  Laemmle, 
Sr.  Sergei  Eisenstein,  great  Rus- 
sian director  now  in  America,  says 
the  talking  picture  must  create  a 
new  form.  Max  Reinhardt  wants 
Lillian  Gish  to  go  to  Europe  to 
direct  pictures.  John  Murray 
Anderson  has  signed  a  two-year 
contract  to  do  artistic  things  for 
the  screen.  And — what  was  that? 
You  want  to  know  what?  Oh.  Well,  if  you  must 
talk  personalities,  thank  goodness: 

((No,  Ina  Claire  has  not  left  her  husband.  She 
made  a  trip  east  but  went  right  back  to  Hollywood, 
where  she  says  she  is  satisfied  to  stay  and  play  her 
favorite  role,  that  of  Mrs.  John  Gilbert,  for  an 
indefinite  run.  Kay  Francis  denies  she  is  engaged 
to  Ronald  Colman  and  can't  imagine  where  the 
rumor  started.  William  Farnum  makes  a  sensa-' 
tional  come-back  in  Norma  Talmadge's  picture, 
"Du  Barry,  Woman  of  Passion,"  in  which  he  plays 
King  Louis  XV,  a  part  once  enacted  by  Emil  Jan- 
nings  in  a  Pola  Negri  film  entitled,  oddly  enough, 
"Passion." 

<C  But  if  you  want  the  real  low-down — you  do? — 
how  would  you  like  to  know  about  the  uncrowned 
king  of  Hollywood — the  most  sought-after  man  in 
the  film  colony,  for  whose  attention  the  celebrities 
are  clamoring,  for  a  half-hour  of  whose  time  the 
sound-and-shadow  beauties  battle?  He  isn't  hand- 
some; he  is  devoted  to  his  wife  and  two  children 
and  makes  no  secret  of  it.  But  he's  the  most 
popular  man  in  movieland  just  the  same.  Great 
box-office  attractions  do  an  Alice,  Ben  Bolt — you 
know,  'tremble  with  fear  at  his  frown.'  And  when 
he  smiles  approval  they  weep  their  delight,  let  the 
mascara  run  as  it  may.  And  then  they  return  to 
their  Beverly  Hills  chateaux  and  practice  all  the 
harder.  For — you've  guessed  it — this  sheik  of  the 
scales  is  Dr.  Mario  Marafioti,  who  is  teaching' 
Hollywood  that  while  there's  voice  there's  hope. 

D.  E 


is 

How 


SCREENLAND 

To  Have  A 


It  Can  Be  Done!  Read  and 
Find  Out  How  to  Reduce 


Irene  Delroy,  one  of 
Broadway's  leading 
musical  comedy 
queens,  is  in  pictures 
now.  She  brings  her 
beautiful  figure, 
voice,  and  talents  to 
"See  Naples  and 
Die."  Warner  Broth- 
ers will  star  her 
soon.  Mr.  O'Brien 
is    proud    of  Irene. 


Philadelphia  Jack 
O'Brien,  former  light 
heavy-weight  champion  of 
the  world,  is  now  in  the 
reconstruction  business! 
Yes — he  rebuilds  figures, 
replacing  fat  with  muscle, 
reducing  waistlines,  re- 
pairing livers.  He's  a 
successful  business  man 
with  his  own  gymnasium 
on  Broadway,  having 
treated  over  18,000  men 
and  women  in  the  17 
years  since  he  left  the 
prize  ring.  O'Brien  is  his 
own  best  advertisement — 
he's  handsome,  hale  and 
hearty.  He  helps  screen 
stars  to  retain  those 
youthful  proportions. 
Read  his  practical  article. 


La  Zar 


HOW  would  you  like  to  have  a  beautiful  figure 
like  Nancy  Carroll?  Or  Joan  Crawford?  Or 
Alice  White? 

What?  You  think  it  can't  be  done?  You 
say  your  hips  are  too  big  for  the  rest  of  you?  Your 
heart  misbehaves  every  time  you  do  your  daily  dozen? 
Your  glands  act  up  and  the  less  you  eat  the  fatter  you 
get? 

Nonsense!  Anybody  can  get  thin.  How  do  you  think 
the  movie  stars  hold  their  jobs?  They  like  to  eat  just 
as  well  as  you  and  I  do. 

You  don't  know?  Well,  just  ask  Winnie  Lightner.  She'll 
tell  you.  You  remember  when  Winnie  made  her  big 
hit  in  "Gold  Diggers  of  Broadway?"  She  was  a  plump 
little  comedienne  then  all  right.  And  here's  a  funny  thing. 
A  picture  audience  won't  say  a  word  about  its  comedians 
being  fat — but  it  won't  stand  for  the  comediennes  grow 
ing  a  third  chin  or  sprouting  a  few  spare  tires  around  the 
waist. 

That's  what  Winnie  found  out — right  after  her  big  hit. 
And  one  day,  she  came  over  to  my  gymnasium  and  asked 
me  about  it. 

"Can  you  take  these  off?"  she  asked  pointing  to  her 
hips.  'And  this,  and  this,  and  this,"  pointing  to — well, 
never  mind. 

"Sure,  Winnie,"  I  answered.  "In  the  seventeen  years 
since  I  left  the  prize  ring,  I've  treated  over  eighteen 
thousand  men  and  women." 

"You  have?"  she  answered,  a  little  surprised. 

"Sure.  I've  replaced  over  a  hundred  tons  of  fat  with 
muscle,  reduced  nine  thousand  feet  of  waist  line,  repaired 
fifty  thousand  livers,  seven  thousand  pairs  of  kidneys 
and — " 

"Hold  on  a  minute!  I'm  not  looking  for  a  reconstruc- 
tion job,"  Winnie  said,  "I  just  want  to  take  off  about 
ten  pounds." 


for    August    19  30 


19 


Hollywood  Figure 


By 

Philadelphia  Jack  O'Brien 


"Ten  pounds  nothing!"  I  replied,  "twenty'five  pounds 
is  what  you  need." 

"I  don't  believe  you  can  do  it." 

"I  can't,  humph?  Well,  here's  where  I  start  working 
on  you." 

Those  were  fatal  words,  believe  me.  For  I've  been 
working  on  screen  stars  ever  since.  And  when  I  say 
work — I  mean  work!  I  took  twenty  pounds  off  of 
Winnie,  a  few  off  of  Betty  Lawford,  plenty  off  of  Sam 
Ash,  Harry  Richman,  Evelyn  Duncan,  the  third  Duncan 
sister,  Irene  Delroy,  and — but  maybe  I'd  better  stop  here. 
You  see,  some  stars  get  all  excited  when  it  gets  out  that 
they're  coming  to  my  place.  They  want  to  preserve  the 
illusions  of  their  audiences.  Well,  you  can't  preserve 
many  illusions  when  you  start  to  get  heavy  around  the 
port  and  starboard  sides.  And  so  many  stars  have  found 
this  out  that  it  looks  like  I  got  to  build  on  a  new  roof 
garden  or  hire  a  hall  because  they  keep  on  rolling  in. 

And  stars  are  no  different  from  any  other  folks.  You 
girls  like  Harry  Richman  because  he's  manly,  virile.  You 
wouldn't  like  him  if  he  were  fat.  And  the  same  thing 
is  true  of  men.    All  of  them       {Continued  on  page  110) 


Philadelphia  Jack  measures  the  waistlines  of  some 
of  the  heavier  members  of  his  class  at  the  O'Brien 
Health  Institute,  New  York.  Senator  Royal  S. 
Copeland   is    making    notes    of    the  measurements. 


Picture  audiences 
won't  stand  for  their 
comediennes  sprout- 
ing spare  tires  around 
the  waist.  Winnie 
Lightner  came  over 
to  Philadelphia  Jack 
O'Brien's  gym  and  said 
she'd  like  to  take  off 
about  ten  pounds.  Jack 
took  twenty-five 
pounds  off  Winnie — 
and  look  at  her  now. 


- 


20 


A   humorist  who   really   looks   the  part — P.  G. 
Wodehouse,  famous  English  writer  of  light  com- 
edy, as  he  arrived  in  America  to  do  smart  dialogue 
and  things  for  talking  pictures. 


A  RE  you  fed  up  with  hokum  comedy? 
/  \         Do  you  hope  never  again  to  see  an  alleged 
/     %     musical  movie? 

Are  you  yearning  for  a  fine  bit  of  light  fun 
which  will  make  you  laugh  so  hard  you'll  rip  open  the 
seams  in  your  new  high-waisted,  white  sports  frock? 

Well,  cheer  up.  That's  just  what's  going  to  happen 
to  you.  And  soon,  too.  For  P.  G.  Wodehouse,  (pre 
nounced  Woodhouse,  if  you  please)  the  English  humorist, 
one  of  the  best  loved  and  most  widely  known  funny  men 
in  the  world,  is  on  his  way  to  California  to  write  for  the 
audible  screen. 

And  how  he  loves  it! 

He  says  Hollywood  is  a  swell  place.  That  Americans 
are  more  intelligent  than  the  English — (fancy  that) — and 
a  lot  of  other  things  which  will  make  his  fellowcountry' 
men  blink  their  eyes  and  call  for  another  sherry  and 
bitters.  Just  to  keep  up  the  morale,  y'  know.  This  younger 
generation  is  going  to  the  dogs,  y'  know.  Fancy,  one  of 
our  own — making  such  a  statement!   Bally  rot,  y'  know. 

But  it  isn't  bally  rot,  for  Wodehouse  knows  what  he 
is  talking  about.  America  is  his  literary  home,  where  he 
got  his  first  real  start.  And  he  hasn't  only  read  about 
Hollywood  in  the  fairy  books,  he's  actually  been  there. 
Listen  to  him! 

"Hollywood  is  as  sane  a  town  as  I  have  ever  been  in, 
at  least  as  far  as  I  could  see  when  I  visited  there  last 
year  with  my  daughter. 

'The  whole  time  we  were  on  the  west  coast,"  Mr. 
Wodehouse  continued,  "I  didn't  see  a  single  swooning 
director,  one  temperamental  star  or  any  whoopee  parties. 
Perhaps  it  was  the  closed  season  for — ah,  er,  temperament, 
but  whatever  the  reason,  I  had  to  revise  my  opinions  of 
the  town,  since  I  had  always  heard  that  it  was  a  bizarre, 


SCREENLAND 


SAY! 

RIPPING, 

WHAT? 

By 

Gray  Strider 

fantastic,  mad,  glad,  what-have-you  sort  of  spot." 

Wodehouse  is  the  sole  humorist  I  have  ever  met  who 
looks  like  a  humorist.  Instead  of  being  a  tall,  thin, 
morose,  hungry,  liverish-looking  gent  who  would  scowl 
down  his  nose  and  emit  wise-cracks — as  some  humorists 
are,  and  do — he  is  a  large,  pink,  good-natured  man,  with 
beautiful,  cheerful,  easy-going  manners,  a  soft,  modest 
voice,  and  eyes  which  twinkle  continuously. 

Nor  did  he  let  fall  any  emeralds  of  humor  during  the 
interview.  I  suspect  he  was  saving  them  up  for  the  talkies, 
where  they'll  be  worth  their  weight — no,  not  in  gold; 
in  ambergris,  which  is  much,  much  more  valuable. 

"I  don't  believe  a  person  can.  write  funny  stuff  unless 
he'  is  fairly  well  contented  with  life,"  P.  G.  declared. 
"The  idea  of  a  sour  individual  turning  out  comedy  doesn't 
fit  into  the  picture  somehow.  Most  writers,  I  know,  go 
through  a  stage  where  they  love  to  turn  out  deep-sea 
tragedy,  but  I  was  spared  that.  My  first  writing  at  the 
age  of  ten  was  a  set  of  comic  verses.  And  I've  stuck  to 
comedy  ever  since. 

"When  I  get  to  Hollywood,  I  don't  know  just  what 
sort  of  thing  I  shall  do.  Anything  Mr.  Thalberg  wants, 
I  rather  expect.  My  taste  in  pictures  runs  to  light  comedy, 
for  after  all,  amusement  is  the  primary  business  of  talk- 
ing pictures. 

"That's  why  Marion  Davies  is  almost  my  favorite  talkie 
actress.  I  liked  her  very  much  in  'Not  So  Dumb.'  Next 
after  Miss  Davies,  I  prefer  Clara  Bow,  Greta  Garbo, 
Ronald  Colman,  and  Kathryn  Carver,  although  we  don't 
see  her  very  much  now. 

"I  rather  think  the  trouble  with  the  talkies  is  the  same 
trouble  that  the  stage  has  always  had — there  aren't  really 
enough  good  stories  to  go  around.  If  you  take  a  whole 
theatrical  season,  there  will  scarcely  be  a  half-do2;en  good 


for    August  1930 


21 


Good  News !  P.  G.  Wodehouse 
is  in  Hollywood  Writing  his 
Inimitable  Humor  for  the  Screen 


stories.    And  the  same  is  true  of  the  screen.   The  plot  other  British  magazines  highly  I  am  forced  to  the  con' 

and  dialogue  have  to  be  turned  out  at  such  a  tremendous  elusion  that  the  average  intelligence  in  America  is  higher 

rate  of  speed  that  the  result  is  often — well,  not  what  than  the  average  intelligence  in  Great  Britain,  which  fact 

one  could  wish.  is  borne  out  by  its  magazines,  its  movies  and  its  advertising. 

"Perhaps  the  answer  is  to  take  the  best  literature  at  "Advertising  is   also  behind  the  American  standard, 

our  disposal  and  to  adapt  it  to  screen  needs.  The  whole  thing  is  on  a  different  scale.    Perhaps  it  is  be- 

"Fm  jolly  glad  to  be  here  in  America  for  I  sold  my  cause  we  are  more  reticent, 
first  story  in  the  United  States.    I  started  out  at  twenty  "And,  of  course,  as  everybody  knows,  our  moving  pic- 
one,  after  I  left  Dullwich   (pronounced  Duledge — these  tures  are  not  in  any  way  comparable  to  yours.  Despite 
droll  English!)  College,  as  assistant  columnist  on  the  Globe,  the  fact  that  the  screen  is  one  of  the  best  means  of 


London  news- 
paper, at  a  salary  of 
twenty-five  dollars  a 
week.  During  my 
second  summer  there 
I  had  a  five  weeks' 
vacation,  and  so  de- 
cided to  visit  Amer- 
ica. Here  I  sold 
my  first  story,  to 
Cosmopolitan.  Fol- 
lowing this,  I  placed 
several  in  McClure's 
and  Everybody's. 

"In  fact,  I  was 
getting  on  so  well, 
I  applied  for  ex- 
tended leave  and 
stayed  here  some 
months,  later  return- 
ing to  England.  But 
every  year  or  so  I 
returned  to  write 
some  of  Mr.  Zieg- 
feld's  musical  com- 
edies, as  well  as  to 
write  for  various 
magazines. 

"The  high  water 
mark  in  my  life,  I 
think  was  in  1914,  when 
I  sold  my  first  serial  to 
the  Saturday  Evening 
Post.  I  really  felt  I 
was  getting  on  then! 
Since  that  time  I  have 
written  some  thirty 
novels,  the  latest  being 
'Fish  Preferred/  and 
many  stories  for  Liberty 
and  Collier  s  and  the 
Saturday   Evening  Post. 

"In  England,  I  con- 
tribute to  the  Strand 
Magazine,  which  is  the 
publication  which  first 
printed  the  Sherlock 
Holmes  stories.  Although 
I  respect  this  and  many 


The  pretty  girl  is  the  author's  daughter,  Leonora.  Looks 
like  one  of  P.  G.'s  own  winsome  English  heroines,  doesn't 
she?    Leonora  is  a  hit  in  Hollywood  social  circles. 


Wodehouse  on  Hollywood: 

"I  never  saw  a  swooning  director,  a 
temperamental  star,  or  any  whoopee 
parties.  Perhaps  it  was  the  closed  season 
for — ah,  er,  temperament! 

"My  taste  in  pictures  runs  to  light  com- 
edy, for  after  all,  amusement  is  the  primary 
business  of  talking  pictures.  That's  why 
Marion  Davies  is  almost  my  favorite  talkie 
actress.  Next  after  Miss  Davies,  I  prefer 
CI  ara  Bow,  Greta  Garbo,  Ronald  Golman." 


advertising  home 
products  abroad, 
England  has  not  kept 
pace  with  the  times. 
A  few  men  get  to- 
gether, subscribe  a 
hundred  thousand 
dollars'  worth  of 
stock,  which  after 
all,  would  be  only 
one  day's  expendi- 
ture in  Hollywood, 
and  try  to  make 
pictures.  It's  done 
in  such  a  provincial 
fashion.  Exactly  as 
if  Mr.  Ziegfeld  were 
to  operate  his  'Fol- 
lies1 in  Albany  or 
Schenectady  instead 
of  on  Broadway. 

"But   despite  all 
this,  there's  no  place 
quite   like  England 
for    me,"  smiled 
Wodehouse.  "I  miss 
my  home  and  gar- 
den very  much.  I 
never  go  out  a  lot, 
but   depend  almost 
entirely  for  my  recrea- 
tion on  books,  my  gar- 
den, and  my  family  and 
my   friends.     My  wife 
will  join  me  soon.  My 
daughter   is   here  with 
me.  And  my  only  worry 
is  what   I  shall  do  in 
Hollywood  about  a  home. 
Do  you- think  I  can  find 
a  garden  there?" 

To  reply  to  that,  Mr. 
Wodehouse,  we'll  have 
to  refer  you  to  the  Los 
Angeles  Chamber  of 
Commerce.  For  to 
hear  them  tell  it,  Holly- 
wood is  the  prize  garden 
of  the  world. 


for   August  1930 


23 


ZlEGFELD 

PICKS  THEM! 

Famous  producer  now  in  Hollywood 
selects  outstanding  screen  beauties. 
See  their  pictures  on  opposite  page, 
then  read  Ziegfekfs  reasons  for 
selecting  them  in  story  below 

By  Helen  Ludlam 


Ziegfeld  has  joined  the  movies! 
Broadway's  great  girl'and'music  show  man  has 
moved  to  Hollywood,  where  he  is  supervising  the 
screening  of  "Whoopee,"  his  New  York  stage  suc- 
cess. His  wife,  Billie  Burke,  and  daughter  Patricia  ac- 
companied him.    He  thinks  Hollywood  is  great. 

Of  course,  we  had  to  ask  him:  "Are  there  more  beauti' 
ful  girls  out  here  than  in  the  East?1'' 

"No!  I  don't  think  one  sees  as  many  lovely  girls  in 
Hollywood  as  one  does  in  New  York — in  general,  I  mean. 
Of  course,  there  is  no  Fifth  Avenue  here." 

"Of  the  ones  you  have  met 
whom  do  you  consider  the  most 
beautiful?"  I  asked,  pinning  him 
down. 

He  thought  a  minute.  "That 
little  girl  I  met  at  Hoot  Gibson's 
the  other  night,  Sally  Eilers,  is 
a  beautiful  girl.  She  is  the 
loveliest  brunette  I  have  seen 
out  here.  Dolores  Del  Rio  is 
a  beautiful  girl,  too.'" 

"Who  else?"  I  prompted  him. 

"May  I  have  until  tomorrow 
to  think  it  over?"  he  asked. 

He  did — and  here's  the  list: 

Sally  Eilers  —  the  most 
beautiful  brunette. 

Helen  Twelvetrees  —  a 
blonde  of  great  beauty  and 
personality,  with  a  great 
future. 

Marilyn  Morgan  —  for 
youthful   beauty   and  per- 


sonality. 

Nancy 
beautiful 


Carroll  —  very 
eyes,  great  per- 
sonality, and  that  something 
that  spells  success. 

Dolores  Del  Rio — Spanish 
type  of  beauty  very  differ- 
ent from  ours,  with  an  ex- 
ceptionally fine  head. 

Norma  Shearer — not  only 


Muriel  Finley,  one  of  America's  most  famous 
show-girls,    will   make    her    screen    debut  in 
"Whoopee."  Ziegfeld  says  she's  the  most  beau- 
tiful show-girl  in  Hollywood. 


Florenz  Ziegfeld,  supreme  producer  of  girl-and-music 
shows,  has  joined  the  movies.  He  is  supervising 
"Whoopee,"  likes  Hollywood,  and  may  stay.  Do  you 
agree  with  his  selection  of  beauties?  You'd  better — 
he's  an  authority! 


a  beautiful  face,  but  very  expressive  eyes  and  per- 
sonality. 

Corinne  Griffith — ideal  screen  beauty  with  great 
refinement. 

Marion  Davies  and  Billie 
Dove,  who  appeared  in  the 
"Follies"  and  who  will  hold 
their  own  anywhere. 

Muriel  Finley  —  The 
Golden  Girl,  most  beautiful 
show-girl. 

There  you  have  Mr.  Zieg- 
feld's  list.  You'll  be  interested 
in  his  sidelights  on  Norma 
Shearer  and  Nancy  Carroll. 

"Nancy  Carroll,  though  not 
possessing  exactly  perfect  fea- 
tures has  very  beautiful  eyes 
and  great  personality.  I  say 
this  in  spite  of  the  fact  that  I 
turned  her  down  for  the  Tob 
lies'  several  years  ago  and  en' 
gaged  her  sister.  Nancy  ap- 
peared before  me  with  several 
hundred  girls  but  she  excuses 
my  lack  of  judgment  in  her  case 
by  admitting  that  at  the  time 
she  was  very  fat  and  her  slightly 
upturned  nose  was  thereby 
made  to  look  extremely  pug! 
She  now  has  a  splendid  figure, 
beautiful  limbs,  and  an  enchant- 
ing smile. 

"Norma  Shearer  also  applied 
for  a  job  in  the  Tollies.'  I  told 
her  she  was  too  small  for  a 
show-     (Continued  on  page  121) 


24 


SCREENLAND 


Ramon  Novarro's 
ambition  was  di- 
vided between  his 
film  career  and 
concert  work  until 
sound  pictures 
solved  his  problem. 
Now  he  can  act 
and  he  can  sing — ■ 
on  the  same  screen. 


cfA  SINGING  LESSON 
By  RAMON  NOVARRO 


Singing  is  the  most 
psychic  of  all  the 
arts.  It  is  our  own 
conception  of  beauty 
that  we  eventually  express. 
We  prostitute  the  art  of 
singing  when  we  use  it  as 
a  medium  to  express  trag' 
edy,  hate  or  lust.  Singing 
is  a  happy  art  and  should 
be  used  to  express  laughter, 
joy  and  love. 

It  is  my  opinion  backed 
by  countless  others  that 
every  boy  and  girl  should 

learn  to  sing,  just  as  they  study  spelling  and  arithmetic; 
for  music  is  as  necessary  to  the  soul  and  rhythm  of  life 
as  reading  and  mathematics  are  to  the  mind.  Singing  has 
another  asset — it  is  the  most  perfect  type  of  physical  exer' 
cise  in  the  world  for  the  lungs,  the  throat,  and  to  develop 
breath  control. 

Everybody  will  not  become  a  great  singer  because  he  stu' 
dies  singing,  although  the  history  of  singers  does  not  show 
that  it  is  always  the  divine  natural  voice  that  wins  fame. 
Many  a  person  born  with  a  remarkable  voice  has  been  lost 
in  obscurity  in  the  village  choir,  while  a  person  who  started 
life  with  a  small,  and  uninteresting  voice  has,  through 


Screenland  is  proud  to  present  to 
its  vocally  ambitious  readers  this 
practical  article  of  excellent  advice 
and  suggestion  by  the  popular 
Novarro.  The  first  of  a  series  by 
the  leading  singing  stars  of  the 
screen— valuable  to  voice  students, 
interesting  to  everybody 


concentration  and  ambi- 
tion, developed  into  one 
of  the  world's  famous  sing' 
ers.  In  Italy  right  now 
there  is  a  singer  who, 
through  shell  shock  and 
being  gassed  in  the  war 
has  only  one  lung,  yet  in 
spite  of  this  handicap  he 
sings  more  leading  roles  in 
one  season  than  most  sing' 
ers  do  in  a  lifetime.  His 
perfect  style,  diction  and 
musicianship  makes  up  for1 
what  he  lacks  in  quality 
and  quantity.  I  refer  to  Pertile,  the  Italian  tenor  at  La 
Scala  Opera  in  Milan. 

Young  singers  make  a  grave  mistake  to  think  they  can 
learn  to  sing  in  a  week  or  in  a  year.  Singing  is  a  life's 
work,  the  voice  growing  better  as  the  body  matures  and 
the  tones  developing  greater  beauty  as  the  singer's  con' 
ception  of  beauty  develops. 

A  voice  is  like  a  bud.  You  can  force  it  open  petal  by 
petal  until  you  have  a  fulbbloomed  rose,  but  if  you  wait 
for  nature  to  open  its  leaves  the  flower  will  be  as  beau' 
tiful  as  it  was  intended  to  be.  The  same  is  true  of  the 
voice.  I  cannot  repeat  too  often,  you  cannot  learn  to  sing 


■v- 


for    August  2930 


25 


Novarro  Says : 

Every  boy  and  girl  should  learn  to  sing, 
just  as  they  study  spelling  and  arithmetic; 
for  music  is  as  necessary  to  the  soul  and 
rhythm  of  life  as  reading  and  mathemat- 
ics are  to  the  mind. 

Young  singers  make  a  grave  mistake  to 
think  they  can  learn  to  sing  in  a  week  or 
in  a  year.    Singing  is  a  life's  work. 

A  teacher  can  never  make  you  a  great 
singer  but  he  can  guide  and  help. 

Verdi  is  by  far  the  greatest  composer 
for  the  singer. 


in  a  limited  time;  it  is  a  lifelong  work.  My  mother  sings 
more  beautifully  today  than  she  did  when  I  was  a  child. 
She  has  always  continued  studying  and  has  naturally  im- 
proved. Although  she  has  had  a  very  busy  life  with 
fourteen  children  to  bring  up,  she  has  never  neglected 
her  singing. 

I  would  love  to  be  able  to  guide  some  young  singers 
on  the  right  road,  for  I  feel  there  will  be  many  fine  voices 
in  the  next  generation,  surrounded  as  we  are  nowadays 
with  so  much  music.  The  best  advice  that  I  can  give  is 
to  begin  with  great  enthusiasm  for  good  singing  and  find 
the  right  teacher,  one  who  makes  singing  easy,  natural 
and  happy.  Vocalize  six  days  a  week  regularly  and  take 
a  day  for  complete  rest.  Study  in  different  languages  and 
when  you  have  advanced  far  enough,  pass  a  role  of  one 
of  the  standard  operas  with  someone  who  knows  it.  Then 
disregard  tradition  entirely.  Don't  be  cramped  with  the 
old  way  of  doing  things  for  you  may  have  a  better  inter- 
pretation yourself.  Beware  of  depending  too  much  upon 
a  teacher.  Once  you  have  studied  seriously  and  are  on 
the  right  path,  it  is  good  to  think  for  yourself,  for  you 
will  discover  many  things  that  will  be  beneficial  to  your 
voice  that  no  one  could  have  found  out,  but  yourself. 


Renee  Adoree  plays  the  accompaniment  for  two  great  singing  screen 
stars — Lawrence  Tibbett  and  Ramon  Novarro.    Renee  appears  with 
Ramon  in  "The  Singer  of  Seville,"  his  next  musical  movie. 


"Every  boy  and  girl  should  learn  to  sing,  just  as  they 
study  spelling  and  arithmetic,"  says  Novarro,  "for 
music  is  necessary  to  the  soul  and  rhythm  of  life." 


A  teacher  can  never  make  you  a  great  singer  but  he 
can  guide  and  help.  In  Mr.  Louis  Graveure  I  have  found 
the  right  person  to  bring  the  best  out  of  me.  From  him 
I  have  learned  some  splendid  exercises  to  bring  the  voice 
forward  (a  singer's  paramount  aim).  It  is  best  to  sing 
fifteen  or  twenty  minutes  at  a  time  several  times  a  day 
than  to  tire  the  voice  singing  long  periods  at  a  time,  as 
some  enthusiastic  young  singers  are  apt  to  do.  I  practice 
with  my  eyes  closed.  This  helps  me  to  concentrate  and 
hear  the  quality  of  tone  I  am  producing.     This  might 

not  help  others;  it  has  been 
of  great  benefit  to  me.  It  is 
good  to  find  out  what  faults 
one  has  and  then  exaggerate  to 
exact  oposite.  For  example, 
if  you  have  a  dark  tone,  prac- 
tice with  a  white  one;  if  you 
have  a  nasal  quality,  get  much 
of  the  round  open  vowel 
quality  into  your  tone.  One 
marvelous  thing  about  singing 
is  that  when  you  do  produce 
a  truly  perfect  tone,  you  know 
it. 

The  shape  of  the  mouth 
while  singing  is  also  a  matter 
of  great  importance.  If  the 
mouth  is  to  one  side,  or 
spread,  grinning  or  forced 
open,  it  is  not  right.  One  of 
the  greatest  singing  teachers 
who  ever  lived,  Matilde  Mar- 
chesi,  said:  "Yawn  the  tone!"1 
For  those  who  yawn  with  a 
well-opened,  flexible  jaw  there 
is  no  beter  advice. 


(Continued  on  page  106) 


SCREENLAND 

. .  ^Sheir  Little 


All  the 

Stars  Have  Them  —  That's 
What  Makes  Them  Lovable 


Below:  Charlie  Farrell  has  a 
habit  of  wrinkling  up  his  brow 
as  though  he  were  frightfully 
deep  in  thought  when  he's 
really  not  at  all. 


When  Olive  Borden  is  intensely  in- 
terested she  has  a  way  of  taking  her 
hat  off,  repeatedly,  and  putting  it 
on  again,  quite  unconsciously. 


Mannerisms!  Hollywood, 
City  of  Make-believe, 
abounds  with  them! 
Ever  since  those  well- 
known  and  delightful  ancestors  of 
ours — Eve  and  Adam — paraded 
around  in  the  Garden  of  Eden, 
pouting  their  lips  and  blinking 
their  eyes  at  each  other,  while 
absent-mindedly  fingering  their  fig 
leaves,  both  the  fairer  and  the 
sterner  sex  have  nobly  carried 
down  through  the  ages  the  man- 
nerisms that  a  charming  couple 
started  introducing  years  ago. 

Not  since  that  fateful  day  long, 
long  ago,  has  a  single  year  passed 
by  without  plenty  of  members  of 
the  feminine  and  masculine  class 
coming  forth  and  startling  their  friends  and  acquaintances 
by  alluring  vogues  of  personal  mannerisms. 

And  in  Hollywood,  where  mannerisms  seem  to  count 
more  than  anywhere  else,  you  encounter  odd  traits  daily. 
Off-screen  and  on,  actors  and  actresses  have  their  man- 
nerisms. Usually,  they  are  unconsciously  done — that  is, 
the  person  voluntarily  does  some  little  thing  that  becomes 
a  habit  but  while  the  action  is  voluntary,  it  requires  no 


Above:  characteristic  of  Greta  Garbo, 
on  the  screen  and  off,  is  the  way  she 
has  of  clasping  her  hands  tightly  to- 
gether, for  no  apparent  reason. 

Below,  center:  when  Sue  Carol  talks 
to  you,  she  has  an  odd  way  of  picking 
up  a  book  and  glancing  through  it, 
meanwhile  continuing  her  conversation. 


thought  to  speak  of. 

For  instance,  Sue  Carol,  off-screen, 
has  a  mannerism  that  is  most  unusual. 
She  will  pick  up  a  book  or  paper  or 
magazine  and  skim  hurriedly  through 
its  pages.  She  does  not  read  but 
merely  shifts  her  eyes  from  page  to 
page,  perhaps  idly  glancing  now  and 
then  at  a  picture.  Meanwhile,  she  will 
continue  her  conversation.  Sue  does 
this  through  habit  and  unconsciously. 
The  importance  of  the  conversation 
does  not  alter  the  mannerism  at  all. 

If  you  ever  get  the  opportunity  to 
talk  with  Olive  Borden  for  a  long 
time,  watch  her  take  her  hat  off  and 
then  put  it  on  again.  During  the  course 
of  an  hour's  conversation,  Olive  has 
been  known  to  remove  her  hat  four  or 
five  times!  As  soon  as  she  realizes  that  she  has  taken  her 
hat  off,  she  very  carefully  replaces  it  and  resets  the  curls 
of  protruding  hair.  A  few  minutes  later  she  is  intensely 
interested  in  some  conversational  topic  and  lo  and  behold! 
— off  comes  the  hat  again! 

Maybe  it's  because  he  is  of  the  West  and  born,  you 
might  very  well  say,  with  a  rope  in  his  hands  that  Hoot 
Gibson  is  always  using  those  same  hands  when  he  is 


for    August  1930 


(Mannerisms 


By 

Gordon  R.  Silver 


Above:  Constance  Bennett's  manner- 
ism is  absent-mindedness.  She's  likely 
to    walk   away   in    the   middle   of  a 
conversation. 

Below,    center:     One    would  know 
Victor   McLaglen   anywhere  just  by 
his  way  of  sticking  his  thumbs  in  his 
upper  vest  pockets. 

talking.  Hoot's  hands  are  constanly 
on  the  move.  He  is  either  shaking 
the  fingers,  rubbing  the  palms  to- 
gether, tapping  the  knuckles  against 
each  other  or  doing  something  with 
them.  Aso,  he  gestures  freely  when 
he  talks  and  this  is  unconsciously 
done,  too. 

Constance  Bennett  has  a  habit  of 
walking  away  in  the  very  middle 
of  a  conversation.  It  is  a  sort  of 
absent-minded  mannerism.  No  mat- 
ter how  important  the  topic  may 
be  nor  how  interested  she  is,  she's 
as  likely  as  not  to  abruptly  halt  in 
her  talking  and  move  away,  only  to 
return  a  brief  instant  later  and  re- 
sume where  she  left  off.    This  is 

particularly  true  when  she  has  much  on  her  mind;  in 
fact,  it  happens  more  often  when  there  is  something  very 
serious  for  her  to  think  of.  It  is  for  this  reason  that  one 
suspects  her  sojourns  away  from  conversations  are  entirely 
unconscious — that  they  are  only  a  unique  mannerism. 

The  plains  and  mountains  of  Old  Montana  are  partly 
responsible  for  all  the  personal  what-nots  developed  by 
Gary  Cooper.    One  of  the  most  noticeable,  perhaps,  is 


Above:  Helen  Katie,  Boop-a- 
Doop  Girl,  whose  little  trait 
consists  of  coyly  sticking 
one  finger   up  to   her  chin. 

the  manner  in  which  Gary  stalks 
along — his  head  thrust  out  as  though 
he  were  playing  follow  the  leader 
all  by  his  lonesome!  Cooper  didn't 
realize  his  head  was  so  far  ahead  of 
the  rest  of  him  until  he  saw  his 
first  picture — after  that  he  went  to 
no  end  of  pains  attempting  to  line 
himself  up.  But  the  rangy  actor 
got  no  thanks  for  his  trouble.  He 
had  to  cultivate  the  habit  all  over 
again  for  his  role  in  '"The  Vir- 
ginian." 

Another — shall  we  say  'stalker1 
— is  the  Garbo.   In  fact,  off-screen, 
slouching  along  with  both  hands 
thrust  deep  in  coat  pockets  and  look- 
ing neither  to  right  or  left,  is  Greta's 
greatest   mannerism.     Another  is 
clasping  her  hands  tightly  together.    Garbo  does  this  both 
in  real  and  'reel'  life  and  for  no  apparent  reason  whatever 
— it's  just  a  mannerism. 

One  of  the  prize  idiosyncrasies  is  that  developed  by 
Charles  Mack,  of  Moran  and  Mack,  comedian  team  ex- 
traordinary. This  big  "Black  Crow'  has  rubbed  so  much 
burnt  cork  around  his  mouth,  using  a  sort  of  circular 
motion  of  his  forefinger,  that       (Continued  on  page  122) 


SCREENLAND 


A 


Marie 
House 


K 


vs . 


Will  Gentleman  Jack  win  popular 
decision  over  Malicious  Mike? 


John  Gilbert  in  his 
famous  role  of  the 
Prince  in  "The 
Merry  Widow." 
Would  you  I  ike  to 
see  and  hear  him  in 
the  sound  version  of 
his  great  success? 
Dr.  Marafioti  says 
Jack  would  acquit 
himself  with  vocal 
distinction  if  he 
should  be  assigned 
to     sing    the  part. 


A  ll  is  quiet  on  the  Hollywood  front. 

/  \  The  weeping  and  wailing  and 
/  \^  gnashing  of  careers  have  all  but 
stopped.  The  fans  wipe  the  tears 
from  their  several  faces  and  gulp  their  last 
sniffle. 

John  Gilbert  can  tal\! 

No,  the  cat  didn't  have  his  tongue,  silly. 
But  the  cats  had  theirs!  Oh  well,  we  knew 
he  could  do  it  all  the  time,  we  sniff.  And 
some  old  meanies  with  inconvenient  memories 
sneer,  and  mention  ill-concealed  snickers  on 
"One  (not  so)  Glorious  Night." 

Well,  what  if  we  did  giggle,  we  defend 
ourselves.  Not  even  a  Mansfield  could  have 
put  across  an  "Oh,  beauteous  maiden,  my 
arms  are  waiting  to  enfold  you,'"  over  a  faulty 
microphone.  So  a  pair  of  tushes  and  a  pooh 
for  that! 

They  say  Lawrence  Tibbett  and  a  couple 
of  other  fellows  have  usurped  John's  place  as 
the  new  lover  of  the  screen,  some  ill-natured 
persons  whisper  in  our  ears.  Who  cares? 
No  matter  how  handsome  and  charming,  there 
can  be  only  one  John  Gilbert  of  "The  Big 
Parade,"  "Flesh  and  The  Devil,"  "The  Merry 
Widow" — ah,  "The  Merry  Widow" — which 
reminds  us: 

The  latest  reports  are  that  John  can  sing! 
Take  that — and  little  birds  are  busy  telling 
people  that  he  could  sing  that  dashing  part  in 
"The  Merry  Widow"  which  seemed  made 
for  him  in  the  silents;  not  only  could  sing 
it,  but — 

Tracing  rumors  to  their  source  leads  to  a 
large  orange-curtained  studio  with  a  grand 
piano  and  Spanish  shawl  and  atmosphere. 

"Any  voice  can  be  trained  to  speak  over 
the  microphone,"  Dr.  P.  Mario  Marafioti 
pronounced,  and  we  rushed  right  in  to  find 
out  about  it. 

Dr.  Marafioti,  in  case  you  don't  know,  was 
the  voice  expert  with  the  Metropolitan  Opera 
House  for  the  past  eighteen  years  who  has 
moved  bags  and  piano  out  to  "the  Metro- 
Goldwyn-Mayer  lot  and  puts  such  stars  as 
John  Gilbert,  Bessie  Love,  Marion  Davies, 
Anita  Page,  Grace  Moore  and  others  through 
their  daily  do  re  me  fa  so  la  ti  dos.  So  he 
knows  what  all  the  singing  is  about.  It  was 
Dr.  Marafioti  who  guarded  the  famous  Caruso 
voice,  who  guided  the  vocal  destinies  of  such 
singers  as  Emma  Calve,  Alma  Gluck,  Emmy 
Destin,  Julia  Culp,  Titto  Ruffo  and  others; 
who  brought  the  astonishing  Swanson  to  such 
a  successful  debut  in  the  talkers. 


for    August  1930 


29 


MIKE' 


THE  SCREEN  BATTLE 
OE  THE  CENTURY 

Round  I.  "His  Glorious  Night" 

Mikes  Round. 
Round  2.  "Redemption"  Even. 
Round  3.  "Way  of  a  Sailor" 

Seconded  by  Dr.  Marafioti. 
WHO  WINS— JACK  OR  MIKE? 


"Yes,  any  voice  can  be  trained  to  speak  properly  and 
most  of  them  to  sing,"  said  Marafioti. 

And  that,  of  course,  means  John! 

"Mr.  Gilbert  has  a  beautiful  speaking  voice,"  the 
doctor  tells  us.  "It  was  only  a  matter  of  developing 
the  true  quality  of  his  voice,  which  is  deep,  resonant  and 
full  of  life  and  color.  A  voice  that  exactly  suits  his 
vibrant  personality." 

Aaaaaaaaah!    And  his  singing  voice? 

"Beautiful,  too.    A  tenor  voice." 

We  suddenly  remember  "The  Merry  Widow,"  how 
perfect  it  would  be  to  hear  John  sing  this  role  that  made 
him  so  famous  in  the  days  of  silence. 

"I  see  no  reason  why  he  should 
not  sing  such  a  role,"  Dr.  Marafioti 
answered  our  question.  "He  has 
been  singing  roles  from  the  opera 
'Rigoletto,'  which  are  much  more 
difficult.  And  he  can  sing  one  note 
higher  than  any  of  the  songs  in 
'The  Merry  Widow.'  So  I  see  no 
reason  at  all  why  he  should  not  be 
able  to  sing  it. 

"Of  course,  you  understand,  it  is 
a  matter  of  practice — like  fingers 
which  must  master  the  technique  of 
the  piano;  so  that  he  can  sing  with 
great  ease  it  may  take  months  of 
training." 

Little  birds  are  raucously  screech- 
ing' in  our  ears  of  a  song  in  the 
new  picture  which  Mr.  Gilbert  is 
soon  to  embark  upon. 

Eager  Gilbert  fans  patiently  wait- 
ing for  this  new  talkie  venture  will 
cheer.  His  new  picture,  "Way  of 
a  Sailor,"  by  Lawrence  Stallings 
with  the  collaboration  of  John's 
once  arch  enemy,  Jim  Tully,  will 
find  him  prepared  to  bring  home  a 
typical  Gilbert  victory.  A  story  of 
the  sea,  a  debonair  adventurer,  and 
a  thrilling  Gilbertian  voice! 

And  as  for  "The  Merry  Widow," 
though  rumor  persists  that  Lawrence 


Here's  how  Jack 
looks  when  he  is 
singing.  Unlike 
some  actors'  his 
features  are  not 
distorted  when  he 
warbles. 


Dr.    Mario    Marafioti,  distinguished 
voice  expert,  who  is  coaching  Gilbert 
to  vocal  success. 


Tibbett  is  scheduled  for  this  color- 
ful operetta,  who  knows!  The  best 
laid  plans  of  mice  and  studio  offi- 
cials— have  a  way  of  upsetting  the 
apple  cart.  Through  our  own  pri- 
vate telescope  we  see  a  positively 
glittering  future,  full  of  gallant 
figures  in  uniforms  singing  romantic 
songs  in  a  thr-r-r-rilling  voice,  and 
they  are  every  one  John  Gilbert! 

We  lay  down  the  telescope  with 
a  sigh.  And  how  was  all  this  ac- 
complished, we  inquire? 

"As  with  all  of  my  pupils,"  an- 
swered the  voice  expert.  "I  teach 
them  to  speak  naturally,  to  place 
the  voice  properly.  I  do  this  with 
a  strange  language  first  for  then 
they  do  not  have  so  much  to  learn 
over  again.  They  can  get  the  sen- 
sation, the  feeling  of  where  the 
voice  is  placed,  as  they  talk.  When 
they  have  learned  the  way  each 
vowel  and  consonant  should  be 
spoken,  I  give  them  a  whole  passage 
of  this  language  to  learn.  Grad- 
ually, as  they  understand  how  each 
should  be  spoken,  we  try  English. 
Even  with  the  singers  I  insist  upon 
their  learning  to  speak  properly 
first." 

And  how  does  a  singer  feel  about 
this? 

"It  is  a  great  person  who  wishes 
(Continued  on  page  126) 


30 


SCREENLAND 


George  Gershwin,  composer  of  Rhapsody  in  Blue, 
An  American  in  Paris,  and  many  musical  comedies, 
signs  with  Fox  to  write  original  scores  for  the  screen. 


A  N  early  summer  evening.    A  pent-house  apartment 

/  \  '    high  up  over  the  blue-gold  Hudson  River.  In 
/     %     the   long,   twilit   dining   room,   a   great  table 
covered  with  caviar  and  pate  de  fois  gras  sand- 
wiches., apple  strudel,  strawberry  tarts,  tea,  coffee. 

In  the  gray  modernistic  drawing  room,  a  hush  falls  on 
many  groups  of  chattering  people. 
Quickly  they  set  down  their  tea- 
cups. A  green  snake  plant  rears 
its  head  stiffly  erect — as  if  waiting. 
And,  as  if  in  answer,  a  handsome 
young  man  bows  his  black  head 
lower  over  the  concert  grand,  and 
with  brown  hands  firmly  placed  on 
ivory  keys — begins  to  play. 

Music — music,  such  as  was  never 
composed  before,  except  perhaps  by 
Debussy.  Music  as  modern  as  a 
skyscraper,  but  with  an  irony,  a 
mockery  of  life  older  than  time. 
Music  that  tantalizes,  excites,  irri- 
tates; music  that  lifts  the  nerves  to  a 
quivering  pitch  of  ecstacy — inciting 
passions  that  it  refuses  to  satisfy,  mu- 
sic rising  higher  and  higher  and 
higher  until  in  one  wrench  of  jackal 
glee  at  this  dance  of  modern  life,  it 
rneers  out  its  laughter  and  is  gone. 

Of  course,  it  was  the  Rhapsody 
in  Blue,  played  by  the  composer 
himself.  George  Gershwin,  the 
young  Jew  who,  in  my  opinion,  is 
the  greatest  contemporary  American 


Gershwin — young,  handsome — 
a  home-grown  American  genius! 
You'll  soon  be  hearing  his 
music  from  the  sound  screen. 


Gershwin 


The  talking  picture  is  capturing 
artists.  Two  of  the  most  recent 
win,  great  young  American  com- 
the  most  famous  scenic  designer 
they  have  surrendered 

By  Rosa 


composer,  since  he  has  contributed  something  terribly  new 
and  terribly  disturbing  to  our  hitherto  obvious  musical  ex- 
istence. Because  of  his  outstanding  talent,  Mr.  Gershwin 
has  recently  been  signed  by  the  Fox  Film  Company  to  go 
to  Hollywood  and  write  original  tunes  for  musical  films. 
And  to  announce  his  decision  to  the  public,  Gershwin  at 
his  pent-house  apartment  was  giving  a  party  to  the  press, 
assisted  by  his  brother  Ira,  who  writes  all  the  lyrics  for 
George's  music,  his  exotic  sister  who  is  beginning  to  be 
known  as  a  dancer,  and  his  beautiful  sister-in-law,  Ira's 
wife. 

Gershwin  whose  Blue  Rhapsody  and  An  American  in 
Paris  have  set  him  entirely  apart  from  other  American  jazz, 
composers,  will  not  be  thirty-one  until  September.  And 
it  is  coincidental  that  when  September  rolls  around,  he 
will  have  composed  music  for  thirty-one  Broadway  shows. 

This  young  American  who  began  life  in  a  tenement 
on  the  east  side  is  tall,  thin,  brown-skinned,  with  laugh- 
ing eyes,  a  strong  nose  and  a  powerful  chin.  He  wears 
'easy1  clothes — nice,  loose-fitting  tweeds,  beautifully  made 
shoes,  and  socks  and  ties  that  match.  He  has  a  frank, 
unprofessional  smile  and  a  mouth  of 
amazing  beauty  and  sensitivity. 

"I  go  to  work  for  the  talkies  like 
any  other  amateur,"  Mr.  Gershwin 
said,  "for  I  know  very  little  about 
them.  I  am  not  a  film  fan,  a  movie 
addict,"  he  smiled,  "neither  am  I 
crazy  about  shows.  When  I  get 
time  off,  I  either  have  a  few  friends 
in  for  a  musical  evening  or  go  to- 
hear  a  symphony  concert.  In  fact, 
I  go  in  so  little  for  night  life  that 
there  are  several  important  night 
clubs  in  New  York  that  I  have  never 
been  inside. 

"Because  I  am  inexperienced  with 
films,  I  am  approaching  them  in  a 
humble  state  of  mind,  for  I  realize 
one  point  well.  Any  creator  is  an 
idealist.  And  if  a  moving  picture 
corporation  allows  its  artists  too 
much  scope  in  an  executive  way,  it 
would  be  ruinous — just  as  our 
government  would  be  ruined  if  it 
were  put  into  the  hands  of  idealists. 
Idealism  and  practicability  don't  al- 
ways match.  (Continued  on  page  126) 


Goldberg 


j  or    August  1930 


31 


Urban 


the  chief  contemporary  creative 
acquisitions  are  George  Gersh- 
poser;  and  Josef  Urban,  perhaps 
in  the  world  today.  Read  why 
to  the  screen 


Reilly 


Tl 


^hp.  talking  picture  is  bringing  all  the  great  art 
forms  in  existence  right  up  to  our  front  door 
step,"  says  Josef  Urban.  "All  we  have  to  do 
now  to  get  a  real  artistic  education,"  he  con- 
tinued, "is  to  turn  the  door  knob  and  let  these  advantages 
roll  in," 

Mr.  Urban,  at  the  moment  we  go  to  press,  is  on  his 
way  to  Hollywood  to  give  the  pretty  talkie  stars  the  kind 
of  surroundings  they  ought  to  have. 

But  hold  on  a  minute,  now — Josef  is  no  big  butter  and 
egg  man  trying  to  win  a  lady's  heart  with  a  Spanish  villa 
or  an  English  country  house.  Not  at  all,  not  at  all!  Mr. 
Urban  is  just  one  of  the  most  famous — if  not  the  most 
famous — scenic  designer  in  the  world.  And  he  has  recently 
been  signed  to  go  to  Hollywood  to  make  sure  that  your 
favorite  actors  and  actresses  have  screen  settings  worthy 
of  their  beauty  and  talent. 

Just  before  he  took  the  train,  Mr.  Urban  gave  Screen- 
land's  representative  a  special  interview  in  order  that  we 
might  be  the  first  to  tell  you  just  what  this  internationally 
celebrated  artist  plans  to  do  while  he  is  on  the  west  coast. 

In  his  beautiful  studio  on  East 
Fifty- Seventh  Street,  New  York, 
Mr.  Urban  was  sitting  behind  the 
enormous  table  where  all  day  long 
and  half  of  the  night  he  works  out 
his  stage  designs  and  plans  the  models 
of  theaters,  skyscrapers,  opera 
houses,  automobiles,  homes,  rugs — 
and  anything  else  that  he  pleases  to 
do.  Outside,  in  his  big  adjoining 
offices,  a  large  staff  of  draughtsmen, 
architects  and  apprentices  were 
working  in  shifts  to  carry  out  the 
tremendous  volume  of  his  creative 
ideas. 

Urban  is  a  colossus  of  a  man. 
Square  -headed,  s  q  u  a  r  e-jawed, 
square-shouldered,  he  even  has  a 
nose  the  exact  shape  of  a  t-square. 
Probably  got  that  way  from  leaning 
over  a  drawing  board  twenty  hours 
a  day,  since  he  works  until  two  and 
three  in  the  morning.  His  arms  and 
legs  are  enormous  and  muscular,  but 
his  hands  are  so  slight  and  lean  they 
seem  not  to  belong  to  the  rest  of 
his  bear-like  body. 


Urban's  screen  work  will  be  an 
interesting  experiment  with 
sound,  color,  light,  perspective 
— all  the  great  art  forms. 


The  noted  Josef  Urban,  of  Vienna  and  New  York, 
designer  of  sets  for  the  Metropolitan  Opera  and  for 
Ziegfeld,  now  contributing  his  talents  to  the  movies. 


For  many  years,  Mr.  Urban  has  been  famous  in  Europe. 
So  we  won't  go  into  that.  You  all  may  have  heard  that 
he  gained  a  great  reputation  as  a  designer  of  stage  sets 
for  the  Royal  Theater  in  Vienna,  for  the  Champs  Elysee 
in  Paris,  and  for  Covent  Garden  in  London.  In  1912 
he  came  to  America  as  designer  for  the  Boston  Opera 
Company.  And  has  remained  ever 
since  to  do  dozens  of  sets  for  our 
Metropolitan  Opera,  for  Florenz 
Ziegfeld,  and  other  producers;  to 
say  nothing  of  designing  the  Zieg- 
feld Theater,  the  Hearst  Magazine 
Building,  the  New  School  for  Social 
Research,  as  well  as  many  magnifi- 
cent homes  and  clubs  at  Palm  Beach, 
Miami,  and  other  fashionable  cen- 
ters. 

Mr.  Urban,  who  was  born  in 
Vienna  fifty-seven  years  ago,  speaks 
English  with  a  piquant  accent  which 
is  impossible  for  me  to  reproduce. 
He  said:  "My  work  with  the  Fox 
people  will,  naturally,  be  more  than 
designing  sets.  It  will  be  an  ex- 
periment with  sound,  color,  light, 
perspective — all  great  art  forms. 

"My  first  picture  will  be  of  Mark 
Twain's  'Connecticut  Yankee  in 
King  Arthur's  Court,'  in  which 
Will  Rogers  will  be  the  star.  In 
that  picture,  we  have  a  problem.  It 
is  a  story  of  the  sixth  century, 
and,"  he      (Continued  on  page  125) 


32 


SCREENLAND. 


The  Boy  Friends' 


Ever  since  Arthur  Lake  played  with  June  Clyde  in 
"Tanned  Legs"   there's   been  just  one  girl   in  the 
world  for  Arthur. 


THE  consensus  of  opinion  of  the  younger  boy  friends 
of  Hollywood  is  that  they'll  take  their  girls  'old- 
fashioned.1 

The  latest  model  in  manhood  for  the  summer 
of  1930  admits  that  he  likes  to  see  girls  in  curls  and 
fluffy  ruffles,  with  manners  to  match. 

Which  may  be  the  reason  that  most  young  men  in  our 
town  from  Rudy  Vallee  down — or  up — try  their  luck  with 
Mary  Brian. 

Billy  Bakewell,  who  is  one  of  the  swains  who  likes  Mary, 
(she  is  usually  seen  with  two  or  three  escorts  at  a  time) 
says  that  men  like  mothers  and  sweethearts  better  than  the 
Tm  your  pal1  girls  who  try  to  be  just  like  men. 

"Girls  don't  like  effeminate  men,11  he  argues,  "why 
should  men  be  expected  to  like  boyish  women?  After  all, 
most  of  us  have  a  lot  of  men  friends.   We're  looking  for 


Who's  Going  with  Whom  in 
Hollywood's  Younger  Set 


something  else — inspiration  or  whatever  you  call  it,  sweet- 
ness and  softness,  romance. 

"Romance  is  whatever  women  want  it  to  be.  They  do 
as  they  please  with  us,  anyway.  The  right  kind  of  woman 
can  make  any  man  jump  through  hoops.  She  inspires  him 
and  gives  him  the  best  reason  in  the  world  for  doing  his 
stuff." 

Billy  met  Mary  when  they  were  both  working  in  "Harold 
Teen."  He  says  he  isn't  casting  yet  when  it  comes  to 
choosing  a  wife,  but  the  things  he  likes  about  girls  strangely 
fit  Mary.  He  likes  a  girl  who  doesn't  drink  or  smoke,  who 
isn't  afraid  to  be  jeered  at  for  being  old-fashioned. 

Then  there's  Sally  Blane,  over  at  RKO,  with  whom 
Billy  is  sometimes  seen.  Sally  is  the  'domestic  type';  she 
says  so  herself.  She  loves  to  fuss  over  clothes  and  can 
even  use  a  vacuum  cleaner.  Her  dressing-room  is  sure  to 
be  the  homiest  place  on  the  lot,  for  Sally  could  make  a 
home  out  of  a  railroad  station. 

Sally  has  just  stopped  going  with  Tommy  Lee.  But 


Above:  Lew  Ayres  says  he  falls  in  love  with  every 
attractive  girl  he  meets.  But  this  scene  with 
Constance  Bennett  is  just  from   "Common  Clay." 


Frank  Albertson  and  Maureen  O' Sullivan  in  "So 
This  is  London."  The  girl  of  Frank's  dreams  has 
red   hair   and   a   mother   who   doesn't   like  Frank! 


for    August    19  30 


33 


Girl  Friends 


By 

Ruth  Tildesley 


then  how  can  one  decide  who  is  going  with  which  of  the 
Young  girls  (Sally  is  sister  to  Polly  Ann  Young)  when 
their  house  is  always  full  of  boys? 

Lew  Ayres,  at  the  moment  because  of  his  work  in  "All 
Quiet  on  the  Western  Front"  the  most  talked-of  lad  in 
filmdom,  insists  that  he  knows  nothing  about  girls. 

In  the  Fox  publicity  office  yesterday  I  came  upon  a  little 
dancer  from  one  of  the  sets,  holding  the  file  of  Lew's 
photographs  close  against  her  heart  and  sighing:  "Isn't  he 
gorgeous?  Isn't  he  marvelous?  I  could  die  for  him — but 
he  doesn't  know  I'm  alive!"   Which  just  about  expresses  it. 

Lew  never  takes  a  girl  anywhere.  He  lives  alone  in  an 
apartment,  where  he  plays  his  organ,  models  in  clay  or 
reads  philosophy.    He  neither  smokes  nor  drinks. 

"It's  not  true  that  I  don't  like  girls,"  he  says,  shyly,  "I 
think  they're  wonderful.  I  fall  in  love  with  every  attractive 
girl  I  meet,  but  it  seldom  lasts  a  week.  I  never  seem  to 
get  anywhere  with  them." 

Lew  writes  ballads.    The  names  of  two  are  The  Love  in 


Above:   Billy  Bakewell   in  a  sweet  scene  with 
Alice   White.     Young  Mr.  Bakewell,  in  private 
life,  is  attracted  to  old-fashioned  girls. 


Right:  Buddy  Rogers  and  June  Collyer.  Buddy 
likes  June;  he  likes  Mary  Brian  and  other  nice 
girls  of  the  screen  colony,  too. 


Eddie  Quillan  is  rushing  Sally  Starr  at  present. 
It's  a  case!    These  two  youngsters  provide  the 
romance  in  "Night  Work." 

Tour  Eyes  and  I've  Found  the  Girl. 

"But  I  haven't,"  he  hastily  assured  me  very  seriously. 
Which  will  be  good  news  to  feminine  fans,  won't  it? 
Last  summer  Arthur  Lake  went  over  to  RKO  to  make 
"Tanned  Legs."  A  lovely  little  blonde  named  June  Clyde 
was  cast  opposite  him.  One  look  at  her  and  all  was  over 
with  Arthur.  He  rushed  her  all  through  the  picture. 
'Girl'  to  Arthur  meant  June  and  nobody  else. 

After  the  picture,  the  affair  went  on  awhile  and  seemed 
to  die  down.  Next  thing  noted  was  that  when  Arthur, 
with  his  mother  and  sister,  were  in  New  York  and  plan- 
ning to  return  to  Hollywood,  he  wired  June,  who  was  in 
the  East  with  her  mother,  and  the  two  families  took  the 
same  train  home. 

Now  that  both  youngsters  are  working  on  the  RKO  lot 
again,  they've  been  lunching         (Continued  on  page  120) 


34 


SCREENLAND 


Lela    and    Ginger  Rogers, 
when   Ginger   was  just  ten 
months  old. 


Because  the  Editor  of  Screen- 
land  asked  me  to  inter- 
view this  newcomer  to  the 
screen,  Ginger  Rogers,  Par- 
amount's  latest  'find,1  I  took  pencil  in 
hand  early  this  morning  and  hied 
myself  to  her  bedside,  shook  her 
gently,  and  in  my  very  best  repor- 
torial  tones  began,  "Tell  me  some- 
thing about  yourself,  Miss  Rogers." 
(I  really  said  'Ginger,'  for  I  had  met 
her  before,  and  having  once  met  Gin- 
ger, one  never  again  thinks  of  her  as 
'Miss  Rogers.1) 

Ginger  rolled  over  to  face  me, 
opened  one  eye  with  much  effort, 
and  exhaled  a  wide  yawn,  through 
which  she  managed  to  articulate, 
"W-h-a-t  d-i-d  y-o-u  sh-a-y,  Lelee?" 

And  then  it  came  to  me  how  silly 
it  was  to  interrogate  Ginger  and  spoil 
her  morning  rest,  when  I  knew  more 
about  her  than  she  does  herself! 

So,  gently  I  tucked  the  covers  back 
under  her  chin,  drew  the  blinds  a  lit- 
tle closer,  softly  closed  the  door  that 
she  might  not  hear  the  tapping  of  my 
portable,  and  here  in  my  room  shall 
give  myself  over  to  chronicling  the 
outstanding  events  of  her  crowded  lit- 
tle life,  the  eighteen  years  that  have 
brought  her  to  success  in  talking 
pictures. 

I  feel  certain  there  is  no  originality, 
and  probably  very  little  significance, 
in  my  strange  feeling  of  having  met 
a  real  personality  when  I  was  intro- 
duced to  my  infant  daughter  in  the 
early  hours  of  July  16,  1911,  in  In- 
dependence, Missouri.  Surely  every 
mother  knows  this  experience,  so  we 
shall  discount  that,  and  come  to  the 
time  in  her  life  when  she  really  began 
to  show  signs  of  being  one. 


ROGERS: 

GINGER 

The  new  Rogers  on 
the  film  horizon  is 
not  related  to 
Buddy,  but  she's  a 
hit  just  the  same 

By  Lela  Rogers 

The  author  of  this  close-up  of  Ginger  Rogers  is 
in  private  life  none  other  than  the  young  actress' 
mother.  Under  her  professional  name  of  Lela 
Leibrand,  Mrs.  Rogers  has  been  a  member  of  the 
scenario  staffs  of  leading  film  companies  and  has 
also  done  considerable  free-lance  writing.  Dur- 
ing the  war,  she  enlisted  in  the  Marine  Corps 
publicity  department,  and  edited  "The  Leather- 
neck," official  journal  of  the  Corps.  And  now 
— she's  her  daughter's  best  press  agent! 


You   saw    her   in    "Young   Man  of 
Manhattan,"  as  the  irrepressible  Fluff. 
You'll  see  her  soon  in  "Queen  High." 
Ginger  Rogers. 


The    same    girls    as  they 
look    today.     Clever,  these 
Rogerses! 


Ginger  was  three  when  she  went 
to  her  first  musical  comedy.  The  hit 
song,  repeated  many  times  during  the 
production  caught  her  fancy  and  she 
came  away  from  the  show  singing  it, 
word  for  word,  understandably, 
even  though  the  last  line  of  the  song 
was,  "I  know  the  fascinating  widow 
will  captivate  you,  too."  Pretty  big 
words  for  a  three-year-old.  (Today, 
Ginger's  directors  will  tell  you  she  is 
a  quick  study.)  The  Captivating 
Widow  song  was  in  her  baby  reper- 
toire for  years.  Tunes  were  her  forte. 
She  learned  them  at  once,  and  in  her 
rendition  of  the  lyric  of  a  song  I  saw 
her  innate  dramatic  turn. 

Naturally,  every  mother  watches 
her  child  to  ascertain  its  turn  of  mind, 
its  adaptabilities,  in  an  effort  to  wisely 
guide  in  a  choice  of  life-work.  I  found 
drama,  mimicry,  comedy,  the  gift 
for  entertaining  in  Ginger;  and 
felt  certain,  even  at  such  a  tender 
age  as  three,  that  she  would  one  day 
belong  to  the  theater.  However,  I 
held  an  open  mind  on  the  subject. 
In  the  years  to  follow  it  was  my 
hope  she  would  choose  the  path  in 
life^that  would  give  her  the  most 
happiness,  whether  that  were  to  be  the 
quiet,  private  life,  or  the  more  public 
life  of  the  theatrical  profession. 

When  Ginger  was  six  I  was 
scenario  writer  for  Baby  Marie 
Osborne,  famous  child  prodigy  of 
motion  pictures.  This  brought  Ginger 
in  contact  with  children  stars,  actors 
and  directors.  Opportunities  for 
parts  were  offered — and  refused.  The 
finish  of  a  child  star  frequently  is  so 
obvious  and  so  pathetic.  Schooling,  a 
genuine  education,  something  upon 
which  to  base  (Continued  on  page  124) 


\ 


STARS 

and  their 
HOBBIES 


GARY  COOPER  confesses 
he  can't  choose  between  his  two 
hobbies.  So  we  said  we'd  choose 
for  him.  Horseback  riding  and 
tennis  engage  Gary  on  his  days 
off,  he  says.  But  since  riding  a 
horse  would  be  a  sort  of  bus- 
man's holiday  for  Mr.  Cooper, 
we  suggested  he  stick  to  tennis. 
Gary  said:  "Sure."  And  here  he 
is,  complete  with  racket,  correct 
togs,  and  the  Gary  Cooper  grin. 


Upper  right:  when  Miss  Craw- 
ford isn't  busy  making  pictures, 
she  is  just  as  busy  making  hots. 
Some  of  those  smart  chapeaux 
you  have  admired  so  much  are 
her  own  handiwork. 


Left:  Joan  proudly  exhibits  her 
wool  rug,  all  finished  except 
one  corner.  Opposite  page, 
above,  she  makes  a  handker- 
chief when  she  can't  find  any- 
thing else  to  do.  But  hooked 
rugs  are  her  favorite  accom- 
plishment, because  they  add  to 
the  decorative  attractions  of 
Jo-Do,  the  Fairbanks  Jr.  home. 


For  the  fluffy  afternoon  frock,  the  shoes 
Anita  Page  is  wearing  strike  a  piquant  note. 
If  you  must  be  formal,  there  are  others. 


Evening  slippers!  The  most  thrilling 
aspect  of  this  little  star's  very  feminim 
hobby.  Anita  has  more  evening  shoes  thai 
any  other  kind.  Small  wonder  she  can' 
make  up  her  mind  which  pair  to  weat 


And  mules!  Who  can 
blame  Anita  if  she  goes 
a  little  haywire  and  owns 
more  boudoir  slippers 
than  she  absolutely  needs? 
When  you're  just  nine- 
teen, and  a  movie  star, 
there  are  few  things  more 
worth-while  in  life  than 
completing  a  collection 
of  brocaded,  black-satin- 
and-ostrich-feather,  mod- 
ernistic mules!  All  of 
Miss  Page's  shoes  are 
by  I.  Miller. 


Right:  Claudette  Colbert,  Para- 
mount player  and  paramount 
golfer,  just  made  a  swell  putt. 
And  is  Claudette  proud?  .Well, 
why  not? 


Left:  of  course  by  now  you  know  that 
Robert  Montgomery's  hobby  is  golf. 
Here  he  is  teeing-off  for  a  long  drive. 


Right:  Claudette  Colbert  showing  good 
form — we  mean  golf  form.  Next  to 
talkies,  golf  is  Claudette's  pet  hobby. 
She  learned  to  play  in  New  York  but 
never  really  accomplished  a  good  game 
until  she  came  to  California  and  found 
more  time  to  play. 


Above:  did  Bessie 
Love  jaw  down 
and  go  boom  or  is 
she  just  resting  « 
bit  between  dances? 


Above:  no,  Bessie  Love  is  not  start- 
ing off  on  a  marathon  race — it's  just 
her   own   brand,  of   dance  whoopee. 


Left:  isn't  this  a 
honey?  or  maybe  it's 
a  love.  Bessie  puts 
on  her  ev  ery-day 
clothes  and  does  a  lit- 
tle home  work  on  her 
dancing  steps.  Is  this 
the  prohibition  dance 
— you  know,  kip,  kip? 


Right:  the  same  Bes- 
sie, only  she's  changed 
to  another  working 
costume  and  steps  out 
as  a  toe  dancer.  Miss 
Love  expressing  the 
spirit  of  the  dance 
which,  as  you  have 
probably  suspected  by 
now,  is  her  favorite 
hobby. 


Photographs  of 
Miss   Love  by 
Hwrrell 


Home!  That's  Richard  Arlen's  hobby. 
He  and  Mrs.  Arlen — Jobyna  Ralston 
before  she  left  the  screen  to  be 
Hollywood's  perfect  wife  and  hostess 
— have  a  secluded  home  in  Toluca 
Lake,  a  Los  Angeles  suburb.  During 
his  spare  time  Dick  has  built  three 
ornamental  garden  pools  around  his 
house.  Right,  he  is  shown  complet- 
ing the  latest-  water-lily  pond.  Joby 
not  only  designed  most  of  their  furni- 
ture, but  carpentered  and  painted 
some  of  it.  Below,  the  A r lens  enjoy 
a  little  rest  from  their  self-imposed 
labors  in  a  good,  old-fashioned  garden 
swing — one  of  the  few  things  on  the 
Arlen  estate  they  did  not  build 
themselves. 


Photographs  by  Elmer  Fryer 


Lovely  little  Loretta  Young  admits 
her  outstanding  hobby:  negligee  pa- 
jamas. Her  wardrobe  boasts  many 
exquisite  creations ;  but  these  two, 
pictured  here,  are  the  favorites  of  her 
collection.  Above,  the  gem  of  Loretta' s 
trousseau:  a  frothy  pajama  ensemble 
of  palest  pink  satin  and  real  lace. 


Left:  Loretta,  now  that  she  is  Mrs. 
Grant  Withers,  being  very  grown-up 
and  dignified  in  her.  pet  beach  pajama 
ensemble.  The  trousers  are  white 
crepe  de  chine;  the  blouse  light  blue, 
the  coat  blue  and  white  silk  pique. 
With  the  suit  Loretta  wears  a  hat 
with  a  crown  of  the  same  material 
as  her  coat. 


f 


Portraits  by  1'Umnr  Fryer 

When  Lila'  Lee  says  her  hobby  is  flying,  it's  no  mere  flight  of  fancy.  Lila 
is  one  of  the  flyingest  girls  in  Hollywood.  Whenever  she  isn't  working  she 
is  begging  for  rides  in  her  friends'  'planes.  And  she  says  she  will  buy  a 
'ship'  herself  one  of  these  days,  see  if  she  doesn't.  So  far  Lila  has  confined 
her  aerial  activities  to  being  a  passenger,  but  she  threatens  to  go  in  for 
serious  flying  on   her  own  as  soon  as   her  hobby  nest-egg  is  hatched. 


Lila  wouldn't  trade  her  hobby  for  any 
other.  She  says  flying  gives  one  a  feeling 
of  freedom  and  buoyancy  obtainable  in  no 
other  way.  Well,  anyway,  Miss  Lee,  that 
helmet  is  mighty  becoming. 


The  fact  that  Lila  Lee  has  gone  in  for  avia- 
tion in  a  whole-hearted  way  may  account  for 
some  young  men  being  given  the  air — and 
taking  it  gladly.  Even  if  she  never  flies  the 
Atlantic  Miss  Lee  is  still  a  great  little  argu- 
ment for  the  cause  of  aeronautics. 


The  little  girl  is  only  kidding.  She  really 
knows  a  lot  more  about  airplanes  than  she 
would  lead  you  to  believe' in  this  picture 


If  you  have  heard  Bernice  Claire's 
lovely  voice  from  the  sound  screen 
■ — and  who  hasn't? — you  won't  be 
too  surprised  to  learn  although  she 
likes  to  swim  and  to  ride,  'Bunny's' 
only  real  passion  is  for  a  permanent 
hobby — music.  Since  singing  be- 
comes more  work  than  play  when 
it's  your  profession,  another  variety 
of  music  satisfies  her  soul  when  in 
search  of  relaxation.  She  plays  the 
organ,  and  in  no  amateur  fashion. 
Looks  like  an  amusing  toy,  doesn't 
it,  this  pretty  little  organ  in  Miss 
Claire's  music  room?  Just  try  to 
play  it,  off-hand,  and  you'll  be  sur- 
prised.    But  to  Bernice,  it's  fun. 


Photographs  by  Elmer  Fryer 


for    August    19  30 


Helen 
Arrives 


There's  a  lot  of  comfort  in  the  homely  old  adage, 
"Third  time's  a  charm."  To  those  who  have 
been  detoured  from  the  road  to  fame  a  couple 
of  times  comes  a  feeling  of  satisfaction  when 
they  find  everything  top-hole  on  a  third  attempt.  That, 
at  least,  was  how  Helen  Twelvetrees,  society  editress, 
stage  favorite  and  motion  picture  actress,  felt  when, 
after  missing  success  by  a  hair's  breadth  twice,  she 
finally  acquired  it  on  the  third  charmful  occasion. 

With  Helen's  newspaper  career  we  have  no  dealings. 
That  was  but  a  preliminary  step  to  her  present  avoca- 
tion. The  only  thing  it  gained  her  was  an  opportunity 
to  meet  stage  people  and  thus  enter  a  profession  more 
to  her  liking  than  journalism. 

Helen  was  seventeen  when  she  graduated  from  News- 
paper Row  to  Broadway.  That  was  less  than  four  years 
ago  and  it  marked  the  first  detour.  According  to  all 
reports,  she  was  rather  good  at  reporting  society  doings. 
However,  New  York's  'Four  Hundred'  had  little  appeal 
to  her  so  she  left  journalism  flat  on  its  back  to  become 
an  actress. 

There  was  nothing  auspicious  about  her  stage  debut. 
Helen's  first  role  was  minor  and  in  a  mediocre  produc- 
tion which  ran  for  six  weeks.  Then  she  was  out  of 
work  but,  having  had  a  taste  of  acting,  she  soon  found 
another  job.  From  then  on  everything  was  easy. 
Producers  liked  her  characterizations  and  audiences 
loved  her  shy  appeal.  Within  a  very  short  time,  Helen 
was  doing  leads  in  "An  American  Tragedy"  and  "Elmer 
Gantry,"  with  more  fame  in  sight. 

It  was  no  detour  that  brought  her 
into  motion  pictures.  Hidden  in  the 
heart  of  every  American  girl  is  a  de- 
sire to  become  famous  on  the  screen. 
This  applies  also  to  stage  actresses. 
Fame  behind  the  footlights  comes  only 
after  years  of  struggling.  In  pictures 
it  is  frequently  acquired  overnight. 
Believing  this,  Helen  eagerly  grasped 
the  opportunity  offered  by  Fox  and 
came  to  Hollywood  along  with  several 
other  well-known  stage  players  who 
had  been  signed  by  that  company. 

That  was  eighteen  months  ago. 
When  she  arrived  in  Hollywood,  Helen 
was  imbued  with  enthusiasm  and 
anxious  to  continue  the  success  which 
was  hers  on  the  stage.  She  had  faith 
in  herself  and  breathlessly  awaited 
fame's  coming.  I  remember  how  she 
shyly  confided  her  aspirations  to  me 
at  our  first  meeting  which  was  two 
weeks  after  her  arrival. 

"I  love  it  already,"  she  said.  "And 
I  love  California,    (Com.  on  page  106) 


Miss  Twelvetrees  steps  into 
permanent  popularity  with 
her  new  personality 

By  Sydney  Valentine 


The  new  Helen  Twelvetrees 
— gay  and  glamourous — steps 
off  the  Twentieth  Century 
in  New  York  City,  deliver- 
ing the  print  of  "Swing 
High,"  the  picture  that  will 
put  her  up  among  the  lead- 
ing stars.  She's  about  to 
step  all  over  the  old  Helen, 
a  sweet  but  pensive  creature 
who  looked  always  as  if 
about    to    burst    into  tears. 


It's  always  a  handicap  for  a 
screen  newcomer  to  bear  a 
resemblance  to  a  famous 
star.  Helen  looked  a  little 
like  Lillian  Gish  in  her  first 
films.  But  now  she  has  de- 
veloped an  entirely  new  and 
refreshingly  piquant  person- 
ality. See  her  in  "Swing 
High,"  her  latest  film.  You'll 
like  the  change. 


52 


SCREENLAND 


Anita  Page  wearing  the  hand-crocheted  angora  tarn 
which  is  part  of  the  gift  ensemble.    It  is  of  a 
lovely    shade    of    orange,    blending    very  nicely 
with  her  costume. 


ANITA  PAGE  is  a  Modern  Maiden  and  modern 
maidens  are  good  sports  who  go  in  for  all  sports — 
tennis,  golfing  and  swimming.  Speaking  of  swimming — 
that's  what  Anita  excels  in.  When  Anita  leaves  the 
studio  sound  waves  she  can  be  found  taking  a  dip  in  the 
other  waves.  Which  brings  us  to  her  gift.  In  the  sum- 
mer our  thoughts  just  naturally  turn  to  bathing  and 
bathing  suits.  Anita  Page  offers  us  the  newest  in  Holly 
wood  beach  ensembles.  The  entire  costume  is  a  combina- 
tion  of  chartreuse  and  orange,  trimmed  with  beige,  brown 
and  orange.  The  bathing  suit  top  is  of  chartreuse  and 
the  shorts  are  of  orange.  The  sleeveless  jacket  is  of  chart' 
reuse  and  carries  out  the  same  trimming  of  the  bathing 
suit.  The  circular  skirt  is  of  orange  wool  in  the  same 
color  combination  as  the  bathing  shorts,  and  makes  the 
costume  suitable  for  both  street  and  bathing  purposes. 
High-heeled  slippers,  an  aviation  style  bathing  cap  and 
an  angora  tam  complete  the  ensemble.  Anita  Page  offers 
this  beach  outfit  to  you  for  writing  the  best  letter  answer- 
ing  her   timely,    interesting,    and   provocative  question. 


ADDRESS:— ANITA  PAGE 
Scree nl and  Contest  Department 
45  West  45th  Street 
New  York  City 
Contest  closes  August   10,  1930 


<lA  Beach 

Offered  by 


The  skirtless  'Catalina' 
two-piece  swim  suit. 
The  top  is  of  chartreuse 
trimmed  with  beige, 
brown  and  orange,  and 
the  shorts  are  orange 
with  the  'flying  fish'  em- 
blem. Note  the  high- 
heeled  bathing  shoes. 
Could  you  care  for  it? 
Then  write  that  letter! 


for    Au  gust    19  30 


53 


Ensemble 

Anita  Page 


Photographs  by 
Clarence  Sinclair  Bull 


Anita  Page  has  chosen 
a  charming  and  prac- 
tical ensemble  which 
can  he  worn  to  and 
from  the  swimming  en- 
gagement. The  sleeve- 
less jacket  is  of  chart- 
reuse and  carries  out 
the  identical  trimming 
of  her  bathing  suit;  the 
skirt  is  of  orange  wool 
of  circular  design. 


Anita  prefers  the  aviation-cap  style  bathing  cap 
which    is   held   snugly   by   a   chin   strap.    In  a 
vivid  orange  shade  which  looks  equally  well  on 
blondes  or  brunettes. 


ANITA  PAGE  is  in  a  quandary  and  you  can,  give  her 
first  aid.    She  offers  a  liberal  reward  for  your  services. 
A  beach  ensemble  in  the  offing! 

As  you  know,  Anita  Page  can  play  dramatic  roles  or 
comedy  parts  with  equal  ability.  She's  an  all-around 
ingenue.  If  her  part  calls  for  songs,  she  sings;  if  it  calls 
for  dancing — Anita  goes  into  her  dance.  You  all  know 
about  her  dramatic  ability.  "Broadway  Melody,"  "Our 
Dancing  Daughters"  and  "Our  Modern  Maidens"  proved 
her  to  be  a  more  than  capable  dramatic  actress.  In  light 
comedy  such  as  "Free  and  Easy"  and  "Caught  Short" 
Anita  is  a  good  little  laugh-getter. 

Think  over  the  list  of  films  in  which  you  have  seen 
Miss  Page.  Then  decide  in  which  you  liked  her  best.  Do 
you  think  she  should  type  herself  as  a  dramatic  actress  or 
should  she  always  play  in  comedies?  Give  Miss  Page  your 
sincere  thoughts  on  this  subject — and  for  this  you  shall 
be  rewarded.  To  the  winner  goes  the  bathing  ensemble! 
Write  the  best  letter  and  help  Anita  solve  her  problem 
and  at  the  same  time  have  your  bathing  problems  solved. 
By  .best  letter  is  meant  the  clearest,  sincerest  and  most 
concise. 

Here's  the  question  you  must  answer:   Do  you  prefer 
to  see  Anita  Page  in  comedy  roles  such  as  she  plays  in 
"Free  and  Easy"  and  "Caught  Short";  or  dramatic  roles 
such  as  "Our  Dancing  Daughters"  and  "Our  Modern 
Maidens?"    Give  reasons  for  your  choice. 


54 


SCREENLAND 


^HEELER 

Bert  talks  to  himself  about 
himself  %-  the  Cuckoo! 

By  Bert  Wheeler 


Bert   gives   Mitchell   Lewis,   bad   hotnbre   of  "The 
Cuckoos,"   W heeler-W oolsey  fun-film,  the  low-down 
on  Bobby.   What  a  pal! 


THERE  are  two  things  I  never,  never  do. 
One  of  them  is  eat,  and  the  other  is  talk  about 
anybody. 
But  inasmuch  as  my  partner  Robert  Woolsey 
isn't  anybody,  I  can  go  right  ahead  and  talk  about  him. 

Besides,  he  causes  me  a  lot  of  trouble.  I  learn  he  has 
taken  unto  himself  a  valet. 

Now,  I  want  to  give  you  the  inside  dope  on  Woolsey. 
This  isn't  the  first  time  his  inferiority  complex  has  caused 
me  trouble.  You  see,  it's  this  way.  He  knows  that  I  am 
so  far  ahead  of  him  in  a  social  way  that  he  keeps  me  poor 
trying  to  keep  up  with  him. 

When  he  hired  this  valet,  there  was  nothing  for  me 
to  do  but  take  on  a  chauffeur. 

I  love  my  chauffeur,  he's  a  peach — not  a  bit  stuck  up. 
He  treats  me  just  as  if  I  were  his  equal. 

I  have  a  Ford,  and  also  one  of  these  front-drive  Cords. 
Occasionally  Gus,  that's  my  driver's  name,  lets  me  ride 
in  the  Cord  with  him,  and  even  when  he  doesn't,  he 
always  sees  that  the  Ford  is  around  where  I  can  use  it. 
He  lets  me  drive  the  Ford  myself. 


And  say,  at  a  party  Gus  is  the  greatest  ever.  He  never 
gets  uppity  and  takes  the  first  drink.  He  says  he's  afraid 
it  might  be  poison  and  if  so,  he  has  to  be  in  condition  to 
take  care  of  me. 

No,  sir!  Don't  let  anybody  tell  you  I'm  jealous  of 
Woolsey  and  his  valet.  I  could  have  lots  of  them;  but 
as  I  have  only  the  two  cars,  what  would  they  do  for  amuse- 
ment? Gus  takes  the  Cord  all  the  time  and  the  cook 
demands  the  Ford  every  evening. 

Did  I  hear  you  say  that  my  inferior,  Mr.  Woolsey, 
intimates  that  I  have  no  valet  because  I  haven't  enough 
money?  That's  a  fabrication,  a  prevarication — it's  a  low- 
down  lie! 

I've  bought  a  lot  of  things  Woolsey  never  has. 

There  was  that  time  in  Philadelphia  when  I  bought 
the  marble  lions  in  front  of  the  courthouse. 

There  was  a  little  difficulty  when  I  started  to  take  them 
home.  The  city  fathers  appealed  to  my  generosity,  how- 
ever, so  I  left  them  there  as  a  gift  to  the  city  and  as  a 
monument  to  myself. 

I  recently  received  a  (Continued  on  page  128) 


for    August    J  930 


55 


WOOLSEY 


Robert  Woolsey 
congratulating 
Bert  Wheeler, 
his  partner  in 
comedy,  on  hav- 
ing suck  a  swell 
partner. 


Yes  suh,  I'se  Mr.  Bobby  Woolsey's  valet  and  per- 
sonal aide. 
No  suh,  I  ain't  his  secretary.    He  ain't  got 
no  use  for  them  animals,  anyhow. 
Fan  mail?  What  you  talkin'  about? 
Oh,  no  suh,  he  reckons  he's  too  homely  for  that!  He 
'plains  that  the  only  mail  he  gets  is  bills. 

Yes  suh,  I  been  workin'  for  him  nigh  onto  five  years. 
He  was  with  a  whole  lot  of  them  Ziegfeld  shows.  We 
knows  all  the  big  shots  back  home — like  Mister  Sam  Harris, 
Erlanger,  Selwyn,  Hammerstein.  Mr.  Bobby  he  worked 
for  all  of  'em. 

I  drove  him  and  Miss  Minnie  (Mrs.  Woolsey)  out  to 
Hollywood  when  Mr.  Bobby  got  a  job  in  that  "Rio  Rita" 
pitcher  at  RKO. 

Says  which?  'Course  I  loves  California.  Mr.  Bobby 
does,  too.  He  says  he's  gwine  to  stay  here  'till  they  git 
onto  him — whatever  that  means. 

Sure  I  like  workin'  for  him.  Somethin'  doin'  all  the 
time.    Actor  folks  certainly  do  travel  'round. 

Funny  off  the  screen?  No  siree!  Most  all  the  time  he's 


Bobby  is  psycho-analyzed 
by  his  smart  valet,  Sam 

By  Sam  Williams 


Sam,  Woolsey's  valet,  writing  the  interview  about 
'Mr.  Bobby.'     Robert  has  his  suspicions  and  is 
sticking  around. 


got  a  grouch  on  worryin'  'bout  close-ups,  and  things  like 
that.  I  don't  know  half  the  time  what  he's  talkin'  about. 
He  says  the  only  time  he's  happy  is  when  he  has  the 
funny  answer — whatever  that  means. 

Is  he  what?    Ambitious?  What's  that? 

Oh — oh,  yes  suh — that  is,  I  guess  so.  He  'plains  all 
the  time  that  he's  miscast  as  a  comic.  That's  just  how  he 
puts  it.  He  says  he  ought  to  be  the  love  interest — like 
John  Gilbert.  Yes  suh! 

Miss  Minnie  says  he's  that  kind  of  a  fool,  too. 

Oh,  he  likes  purty  nigh  anything  to  eat.  He  and  Miss 
Minnie  don't  go  in  for  fancy  eatin'.  Most  of  the  eatin' 
in  that  family  is  done  by  Rusty. 

Rusty?  That's  the  dog.  He's  just  a  mutt.  Miss  Minnie 
picked  him  up  offen  the  street  and  brung  him  home. 
You'd  think  he  was  the  Princess  of  Wales.  Sometimes 
I  wonder  who  I'm  working  for,  Rusty  or  Mr.  Bobby! 

Is  who  eccentric?  Rusty?  Oh,  Mr.  Bobby.  No,  but 
he  does  like  to  sleep  mornin's.  I  sure  have  a  time 
gittin'  that  man  to  the  studio.  I  believe  he  just  naturally 
hates  daylight.  (Continued  on  page  113) 


56 


SCREENLAND 


Photographs  by 
E.  A.  Schoenbaum 
Paramount. 


Fore/ 

Follow  Thru" 

Location 


Come  Along 
and  Watch  Them 
Make  a  Movie  of 
the  Popular  Golf 
Musical  Comedy 

By  Helen  Ludlam 


1 might  just  as  well  state  right  here  and  now  that  this 
isn't  going  to  be  the  usual  location  story.  For  the 
simple  reason  that  it  wasn't  like  a  location.  It  was 
too  dressed-up  a  place  for  that.  When  I  heard  that 
Palm  Springs  and  the  "Follow  Thru'"  company  with 
Buddy  Rogers,  Nancy  Carroll,  Zelma  O'Neal,  Eugene 
Pallette  and  other  favorite  players  were  waiting  for 
Screenland  to  look  them  over  I  actually  romped  with 
joy.  But,  to  begin  with,  the  desert  was  all  shot  to  pieces. 
My  memory  of  Palm  Springs,  the  lovely  Indian  oasis,  was 


Above:  Helen  Ludlam,  our  Location  Lady,  on  the 
sidelines  with  Zelma  O'Neal,  directors  Schwab  and 
Corrigan,  and  Eugene  Pallette. 

Right:    a    millionaire    'gallery'    watches    scenes  of 
"Follow  Thru"  being  made  in  the  courtyard  of  the 
El  Mirador  Hotel,  Palm  Springs,  Cal. 


so  simple  and  so  beautiful  that  when  I  saw  what  'progress' 
had  done  to  it  the  shock  almost  bowled  me  over.  In 
place  of  the  dirt  roads  there  was  asphalt,  which  was  rather 
nice,  for  the  alkali  dust  is  not  so  hot;  but  there  were 
paved  sidewalks,  too,  instead  of  shady,  grassy  tufted  walks. 
There  were  swanky  hotels,'  branches  of  fashionable  Los 
Angeles  stores,  tennis  courts,  golf  courses,  a  flying  field. 
People  were  going  about  in  ultra- fashionable  sports  ap- 
parel. So  by  the  time  one  took  stock  of  all  this  there 
wasn't  much  left  of  the  desert.  The  mountains  and  the 
sky,  and  oh,  yes,  the  original  Indian  mud  baths — thank 
heaven  for  that — were  the  only  unchanged  things. 
Even  the  flowers  went  back  on  me  because  the  wild 
horses  had  devoured  most  of  them  and  the  hotel  mana- 
gers had  combined  in  rounding  up  as  many  cowboys 
and  Indians  as  they  could  to  corral  the  strays  and  either 
capture  or  chase  away  the  wild  ones. 


for   August  1930 


57 


"She's   mine,   all   mine,"  says 
Eugene    Pallette    to  Buddy 
Rogers  when  they  meet  an  In- 
dian   princess   on  location. 


All  of  which  doesn't  mean 
that  Palm  Springs  isn't  beau' 
tiful — but  just  a  different  and 
more  swanky  beauty.  I  took 
one  look  at  the  El  Mirador 
Hotel  with  its  Spanish  archi- 
tecture and  formal  gardens 
and,  hearing  that  the  picture 
was  to  be  taken  on  the 
grounds,  buried  my  location 
boots  and  habit  deep  into  the 
farthest  corner  of  my  suit- 
case. Everything  was  terribly 
dressed  up  and  formal  and  the 
players  appeared  to  react  in 
kind.  Not  that  they  were 
high-hat,  but  there  was  no 
gathering  'round  as  there  usu- 
ally is  on  locations.  We  all 
ate  in  little  groups  of  twos 
and  threes  in  the  beautiful 
dining  salon  and  the  usual 
conviviality  was  conspicuous 
by  its  absence.  Of  course,  we 
were  berthed  in  a  very  gor- 
geous hotel  with  outdoor 
swimming  pool,  tennis  courts, 
golf  course  and  spacious 
grounds  beautifully  land- 
scaped. We  might  have  been  at  Palm  Beach  or  French 
Lick. 

We  arrived  just  after  the  day's  shooting  was  over  and 
every  one  was  hurrying  off  to  play.  From  our  room 
which  overlooked  the  grounds  we  saw  Nancy  Carroll's 
red   curls  bobbing  over   toward   the   tennis   court,  and 


"Here  1  go!"  cries  Zelma  O'Neal  as  she  takes  a 
back  flip  from  the  spring-board  at  the  El  Mirador 
swimming  pool.    You'll  like  this  little  comedienne 
in  "Follow  Thru." 


Charles  'Buddy'  Rogers,  star  of 
"Follow   Thru,"   tells  Screen- 
land's   Location    Lady,  Helen 
Ludlam,  all  about  it. 


watched  Zelma  O'Neal,  a 
newcomer  in  pictures  whom  I 
am' sure  you  are  going  to  like, 
plunge  off  the  diving  board 
into  the  pool.  Then  we  went 
out  and  made  whoopee,  too. 

Zelma  is  a  friendly  little 
thing  and  very  much  in  love 
with  her  handsome  husband, 
Anthony  Bushell.  They  both 
had  been  so  disappointed  that 
Tony's  trip  to  his  home  town 
in  England  had  to  be  made 
alone.  He  left  just  a  few 
days  before  Zelma  started 
"Follow  Thru"  because  of  the 
immigration  rulings.  'Tm  go-' 
ing  to  join  him  soon  as  this 
picture  is  over,  but  gee!  us 
kids  had  looked  forward  so  to 
that  ocean  trip  together  and 
I  just  can't  bear  to  think  of 
it."  For  a  moment  I  feared 
there  was  going  to  be  a  cry- 
fest  but  Zelma  bethought 
herself  of  the  motor  trip 
through  Europe  that  she  and 
Tony  were  going  to  enjoy  to- 
gether later  and  cheered  up. 
She  is  like  a  little  colt,  utterly  unself-conscious.  "I 
don't  try  to  be  funny  and  I  don't  know  what  makes  me 
funny,"  she  said.  "When  I  first  started  on  the  stage  I 
used  to  be  terribly  scared  but — "  she  stopped  and  looked 
hard  at  me  a  moment  as  though  she  couldn't  quite  make 
up  her  mind  whether  to  tell  what  (Continued  on  page  108) 


58 


SCREENLAND 


One  of  Hollywood's 
most  interesting  per- 
sonalities is  Jack  L. 
Sinykin,  who  owns  and 
operates  a  kennel  to 
train  fine  police  dogs 
to  be  useful  as  well  as 
ornamental.  At  Siny- 
kin's  left  is  Chekko, 
who  has  starred  in 
pictures  and  is  known 
as  'the  dog  with  the 
human  brain.' 


T)OGS  of  TJestiny 

The  dogs  trained  by 
Jack  L.  Sinykin  to  lead  the  blind  are  four-footed 

friends  of  humanity  ...     By  Myrene  Wentworth 


THEY  say  if  you  stroll  along  the  Rue  de  la  Paix 
every  day  over  a  period  of  time  you  will  meet 
everyone  you  ever  knew.  You  will  also  see  most 
of  the  famous  of  the  earth,  the  great  and  near'great. 
Hollywood  is  beginning  to  rival  Paris  in  the  way  of 
encountering  interesting  people.  Screenland  meets  them 
all  and  in  turn  introduces  them  to  you.  And  now,  here's 
Jack  Sinykin,  one  of  the  least  known  and  most  interesting 
personalities  in  Hollywood.  Humanitarian  and  business 
man,  he  started  life  at  sixteen  as  a  shoe  salesman  and  after 
years  of  interesting  experiences  and  colorful  adventures 
now  spends  the  greater  part  of  his  time  in  operating  and 
financing  a  kennel  for  the  training  of  dogs  to  lead  the 
blind. 

Most  of  you,  perhaps,  saw  the  talking  news'reel  of  the 


blind  senator,  Thomas  B.  Schall,  and  the  black  Shepherd 
police  dog  at  his  side  which  he  introduced  at  the  end 
of  his  speech  as  Lux,  from  Minnesota,  his  home  state,  and 
one  of  his  best  friends. 

Thomas  B.  Schall,  as  you  may  know,  is  the  senator 
who  lost  his  eyesight  while  still  a  very  young  man.  He 
became  a  successful  lawyer  but  gave  up  his  practice  to 
enter  politics.  He  was  elected  Congressman  from  his 
district  in  Minnesota,  served  several  terms,  and  finally, 
became  a  senator.  After  Jack  Sinykin  had  established  his 
kennels  at  La  Salle,  Minnesota,  and  a  few  of  his  dogs 
had  been  satisfactorily  trained,  he  lost  no  time  in  present- 
ing Senator  Schall  with  one  of  them.  Lux  takes  his  master 
to  and  from  the  senate  chamber  each  day  and  the  senator 
wrote  Mr.  Sinykin  that  it  was  the  first  time  since"  he 


for    August    19  30 


59 


became  blind  that  he  has  been  able  to  walk  alone.  It  is 
said  that  Lux  is  the  only  dog  that  has  ever  been  admitted 
to  the  senate.  He  lies  at  his  master's  feet  during  the 
entire  session. 

When  Mr.  Sinykin  presented  Senator  Schall  with  one 
of  his  dogs  he  had  two  things  in  mind:  his  admiration 
for  the  Minnesota  Senator  and  his  work,  and  a  hope  that 
this  might  prove  a  leeway  by  which  the  government  might 
become  interested  in  operating  a  similar  kennel  for  the 
relief  of  the  American  blind.  Toward  that  goal  he  is 
now  striving. 

One  of  the  things  Mr.  Sinykin  aims  to  accomplish 
through  his  kennels  is  the  training  of  dogs  for  picture 
work.  They  will  be  trained  to  go  through  a  scene  just 
as  human  actors  do,  without  continuous  direction.  It  is 
expected  they  will  be  even  better,  for  dogs  seldom  forget, 
whereas,  we  humans! 

Of  all  the  dogs  in  his  kennels, 
jack  Sinykin  is  perhaps  fondest  of 
Chekko,  who  is  known  as  the  dog 
with  the  human  brain.  He  has 
been  a  star  in  pictures  and  has  a 
number  of  wonderful  feats  to  his 
credit.  One  day,  a  strange  dog 
attacked  a  thoroughbred  calf  be- 
longing to  his  master.  Chekko 
sprang  to  the  rescue  and  won  the 
fight  but  was  so  badly  bitten  that 
his  paw  had  to  be  amputated. 
An  artificial  paw  is  being  made 
for  him  and  when  he  learns  to 
use  it,  he  will  be  as  capable  as 
ever.  But  even  with  his  three  legs, 
Chekko  can  hold  his  own. 

Another  of  the  few  dogs  from 
the  Sinykin  kennels  now  in  circu- 
lation belongs  to  Raoul  Walsh, 
motion  picture  director.  Mr. 
Walsh,  as  you  may  remember,  is 
the  director  who  lost  the  sight  of 
one  eye  through  an  accident  which 
shattered  the  windshield  of  the  car 
he  was  driving  while  on  location 
for  "In  Old  Arizona."  Mr.  Siny- 
kin met  Mr.  Walsh  one  day  at  the 
Fox  studio  and  the  talk  turned  to 
dogs,  the  director  mentioning  that 
his  children  were  extremely  fond 
of  them.  When  Mr.  Sinykin  went 
back  home  he  had  an  offspring 
from  the  international  champion, 


Above:  Chekko  is  versatile!  When 
kelp  is  scarce  he  can  even  help 
with  the  ploughing. 


Claus  Von  Kefelde  sent  to  Raoul 
Walsh  to  be  a  play-mate  for  his 
kiddies.  These  dogs,  like  many 
others,  are  extremely  versatile  in 
their  accomplishments.  For  in- 
stance, a  mother  can  give  a  dog 
the  baby's  bottle  and  the  dog  will 
take  it  to  the  child  and  put  it  in 
the  child's  mouth.  And  it  will 
keep  the  child  out  of  mischief  and 
guard  it  with  his  life,  besides  being 
a  marvelous  companion. 

It  was  in  Germany  that  Jack 
Sinykin       (Continued  on  page  128) 


Above:  Jack  Siny- 
kin knows  horses 
as  well  as  he  knows 
dogs.  Here  he  is 
wearing  Valentino's 
'Sheik'  costume 
and  riding  Rudy's 
horse. 


Right:  the  blind 
Senator,  Thomas 
D.  Schall,  and  his 
police     dog,  Lux. 


Left:  Chekko  lost 
a  paw  while  de- 
fending his  mas- 
ter's property.  But 
he  holds  his  own. 


60 


SCREENLAND 


for    August    19  30 


61 


AMOS  'n'  ANDY 


Meet  these  boys  'pusson- 
ally.'   See  them  soon  on 
the  screen  in  "Check  and 
Double  Check" 

By  Evelyn  Ballarine 


w 


hat's  the  propoli- 
tion?"  chorused 
Amos  V  Andy  to 
Radio  Pictures. 


"A  two-year  movie  contract  at 
$100,000  a  year,"  was  Radio  Pic- 
tures snappy  come-back. 

"Check!"    said  Amos — and 
"Double  Check!"  said  Andy. 

"That  gives  me  an  idea  for  a 
title,"  retorted  the  picture  pro- 
ducer. 'Check  and  Double  Check' 
will  be  the  title  of  your  initial 
production."    And  that's  that. 

But  let  me  tell  you  about  Amos 
V  Andy.    Their  real  life  career 
is  more  thrilling  and  sensational 
than  a  Horatio  Alger,  Jr.  story. 
Andy,  who  is  really  Charles  J. 
Correll,  was  born  in  Peoria,  Ill- 
inois, in  1890.   Amos  first  saw  the 
light  of  day  in  Richmond,  Vir- 
ginia, in   1899.     His  name  is 
Freeman  F.  Gosden.    The  two 
boys    first    met    in  Durham, 

North  Carolina,  in  1919,  where  they  united  their  early 
theatrical  efforts  in  a  musical  show.  About  six  years  ago 
they  drifted  into  Chicago,  broke  and  without  a  job. 

They  were  known  as  Sam  V  Henry  but  not  very  many 
people  knew  them  or  cared.  At  any  rate,  Chicago  re- 
mained more  or  less  indifferent.  Months  passed  and  a 
Chicago  newspaper  publisher  offered  them  $100.00  a  week 
to  go  on  the  air.    They  had  their  chance — after  a  fashion. 

Last  August  they  were  given  a  coast-to-coast  tryout.  But 
they  were  obliged  to  change  their  names  from  Sam  'n' 
Henry  because  of  previous  station  rights.  They  became 
Amos  V  Andy  and  clicked  with  their  first  nation-wide 
broadcast — and  the  rest  is  radio  history. 

They  became  so  popular  that  their  broadcasting  time  was 
changed  from  eleven  P.  M.  to  seven  P.  M.,  Eastern 
Standard  time.  In  ten  days  time  the  studio  received 
250,000  letters,  50,000  telegrams,  and  10,000  long  distance 
calls  of  protest  from  all  over  the  country. 

So  now  Amos  'n'  Andy  make  two  nightly  broadcasts — 
one  for  the  east  and  one  for  the  west.  This  gives  each 
section  the  same  performance  at  about  the  same  time,  and 
everybody's  happy. 

Now  Amos  V  Andy  are  making  $100,000  a  year  on  a 
two-year  Radio  contract,  a  thirty-week  vaudeville  contract 
which  nets  them  $5,000  a  week,  to  say  nothing  of  royalties 
from  records  and  other  sources.  Anyway,  their  weekly 
pay  check  amounts  to  $5,500  weekly  each  week.  And 
that's  somethin' — as  Amos  himself  would  say. 


Freeman  F. 
Gosden  and 
Charles  J. 
Correll,  alias 
Amos  'n' 
Andy. 


Amos'  southern  accent  is  authentic.  He  acquired  the 
negro  dialect  from  his  negro  mammy  in  Virginia.  Andy's 
drawl  was  picked  up.  And  what  a  pick-up!  They  write 
their  own  radio  material  and  constantly  travel  around  the 
colored  sections  of  different  towns  in  order  to  absorb  the 
right  atmosphere. 

Although  there  are  other  voices  heard  in  the  Amos  'n' 
Andy  broadcasts,  the  voices  belong  to  the  two  boys  who 
impersonate  the  different  characters.  And  their  off-stage 
voices  are  entirely  different  from  their  radio  voices.  They 
might  be  called  the  Lon  Chaneys  of  the  radio  world; 
whereas  Chaney  has  a  lot  of  faces  the  boys  have  plenty 
voices. 

Strangely,  the  affable,  happy-go-lucky  Amos  is  tall  and 
slim  with  wavy  brown  hair;  the  blustering,  buck-passing 
Andy,  with  the  booming  voice,  whom  we  think  of  as  a 
great  big  Samson,  is  really  short  and  stocky.  Both  the  boys 
are  married. 

It  is  rumored  that  they  have  accepted  an  offer  from 
Ziegfeld  to  appear  in  the  "Follies."  However,  their  broad- 
castings must  go  on  even  though  they  may  be  in  pictures  or 
on  the  stage.  So  you  can  continue  to  tune  in  on  Amos  'n' 
Andy  at  seven  o'clock  as  per  usual. 

Apparently  they  are  the  college  boy's  delight,  too,  be- 
cause Rutgers  College  rated  them  on  a  par  with  Lindbergh 
as  the  outstanding  figures  in  the  United  States — and  that's 
flying  high. 

You'll  be  seeing  them  in  "Check  and  Double-Check." 


9 


62 


SCREENLAND 


Among  those  present  at  Fritzi  Ridgeway's  week-end  party  at  Palm  Springs — (find  'em) — were  Gwen  Lee, 
Scott  Kolk,  Simeon  Gest,  John  Darrow,  Rosetta  Duncan  (I'll  help  you — Rosetta  has  a  hat  on),  Nita 
Marfan,  Dorothy  Janis,  Sally  Blane,  Marie  Bekefi,  Elise  Bartlett,  Sammy  Blum  and  Fritzi  Ridgeway. 

Hollywood  Goes  Places 

House  Warmings,  a  Wedding,  a  Week-End  Party — 
Let's  Crash  with  our  Party  Reporter 

By  Grace  Ktngsley 


A'ERFECTLY  scrumptiously  beautiful  new  home — 
but  exactly  the  same  perfectly  charming  hus- 
band!  Now,  I  ask  you — wouldn't  any  lady 
celebrate?" 

Patsy  and  I  were  talking  about  Ouida  Bergere  and  Basil 
Rathbone,  as  we  'rested'  our  wraps  in  her  bedroom, 
preparatory  to  mingling  with  the  huge  crowd  of  guests 
who  were  attending  the  Rathbones'  house  warming  and 
wedding  anniversary  party  in  their  beautiful  new  Beverly 
Hills  home. 

"They've  only  been  in  the  house  four  days,  Ouida  tells 
me,  and  however  they've  managed  to  get  it  ready  for  this 
big  party,  I  don't  know,"  Patsy  went  on,  "but,  of  course, 
you  may  expect  just  anything  in  the  way  of  energy  from 
Ouida." 

Ouida  was  looking  lovely  in  a  white  evening  gown, 
while  Basil,  of  course,  was  as  handsome  and  fascinating 
as  ever. 

We  found  crowds  of  people  overflowing  the  drawing 


room,  library  and  dining  room,  and  glancing  up  saw 
Gloria  Swanson  descending  the  stairs,  looking  like  a  Burne- 
Jones  stained  glass  window  or  something  in  her  graceful 
long  black .  evening  frock  with  long  white  gloves. 

"Burne-Jones  ladies  don't  wear  white  gloves,"  Patsy 
remonstrated  when  I  made  that  remark. 

"Well,  if  they  did,"  Basil  Rathbone  came  to  my  assist' 
ance,  "they  would  look  exactly  like  Gloria  Swanson!" 

We  spoke  to  Gloria  about  her  children.  And  when 
you  speak  of  her  children  that's  when  all  the  superficiality 
departs  from  Gloria,  and  she  becomes  just  a  sweetly 
human  woman. 

We  met  Billy  Haines  and  Roger  Davis  in  the  living 
room,  and  Roger  began  kidding  as  usual.  Looking  ex' 
tremely  severe,  he  exclaimed  to  Patsy  and  me: 

"Don't  you  know  that  you  should  be  off  the  beach  at 
Malibu  by  six  o'clock?  That's  the  rule!  I  saw  you  two 
sitting  on  the  beach  last  Sunday  with  Vivian  Duncan  as 
late  as  6:30!    It  won't  do!    It  won't  do!"  and  he  slapped 


for    August  1930 


63 


his  palms  together  in  the  manner  of  the  teacher  to  the 
small  boy. 

Joseph  Cawthorn  and  his  wife,  Queenie  Vassar,  were 
among  the  guests,  and  we  found  Joe  mourning  the  loss 
of  his  beautiful  Persian  cat,  which  Louise  Dresser  had 
given  him.    It  had  wandered  away  from  home. 

"Well,  Louise  herself  loved  that  cat — maybe  she  came 
and  took  it  back,"  grinned  Billy  Haines. 

Cyril  Maude  was  there  dancing  with  Beatrice  Lillie, 
which  did  make  the  party  look  like  good  old  London. 

"And  a  very  good  dancer,  he  is,"  whispered  Ina  Claire, 
"none  of  the  mid- Victorian  stuff  for  him!" 

Constance  Bennett  was  among  the  guests,  looking 
pretty;  and  there  were  Theda  Bara  and  her  husband, 
the  director,  Charles  Brabin;  Lilyan  Tashman  and 
Edmund  Lowe,  Mrs.  H.  B.  Warner,  who  had  come  to 
the  party  alone  because  she  explained  that  her  husband 
is  working  in  a  picture  and  must  have  his  beauty  sleep. 

And  we  learned  that  Mrs.  Warner  herself  is  going 
into  pictures.  She  used  to  be  Rita  Stanwood  on  the 
New  York  and  London  stage,  you  know. 

Phillips  Holmes,  son  of  Taylor  Holmes,  was  a  guest, 
and  there  were  Mr.  and  Mrs.  Sam  Goldwyn,  Ilka  Chase, 
Aileen  Pringle,  Mr.  and  Mrs.  William  de  Mille,  Walter 
Pidgeon,  Mr.  and  Mrs.  Barney  Glazer,  George  Grosmith, 
Frederic  March  and  Florence  Eldridge,  his  wife;  Ken- 
neth Thomson  and  his  wife,  Mrs.  Lawrence  Tibbett, 
George  Fitzmaurice  and  Diana  Kane,  Elsie  Janis  and  her 
mother,  and  many  others. 

'There's  Harry  Tierney,"  whispered  Patsy.  "Do  you 
know  music  isn't  his  only  gift.  He  has  a  gift  amounting 
to  genius  for  making  everybody  adore  him.    He  is  so 


Fritzi  Ridgeway  (top)  with  a  few  of  her  week-end 
guests:    John    Darrow,    Scott    Kolk,    Sally  Blane, 
Jessie  Wadsworth  and  Dorothy  Janis. 


Mistt.va 


Basil  Rathbone  and  his  wife,  Ouida  Bergere,  com- 
bined a  wedding  anniversary  with  a  house  warming 
at  their  beautiful  new  Beverly  Hills  home. 

kind,  so  friendly,  so  modest  about  his  cleverness." 

Charlie  Farrell  and  Virginia  Valli  were  both  there,  and 
Fm  sure  they  came  together. 

"That's  a  romance  of  such  long  standing  that  nobody 
even  talks  about  it  any  more,"  remarked  Patsy.  "I  sup- 
pose  some  day  they'll  run  off  and  get  married.  Fm  sure 
they're  crazy  about  each  other." 

Jack  King  had  brought  Elsie  Janis  and  her  mother,  and 
Lionel  Barrymore  was  there,  a  little  taciturn  and  probably 
a  little  shy,  but  as  delightful  as  ■  ever  if  you  talked  with 
him. 

Frederic  March  came  over  to  chat  with  us,  and  had  a 
funny  story  to  tell  us  about  "All  Quiet  On  the  Western 
Front." 

"Somebody  told  the  director,  Lewis  Milestone,"  said 
March,  "that  he  ought  to  give  a  happy  ending  to  the 
picture.  'Well,'  answered  Milestone,  'we  might  have  the 
Germans  win  the  war!'  " 

John  Colton  and  Zoe  Akins  were  there  together,  clever 
and  amusing  in  their  chat  as  ever,  and  quite  as  evidently 
rather  devoted  to  each  other. 

There  was  a  big  orchestra  which  played  for  the  dancing 
going  on  in  the  library  and  drawing  rooms,  and  later  there 
was  a  buffet  supper  served;  and  if  you  liked  to  stroll  out 
in  the  big  garden  at  the  back  of  the  house,  which  was 
charmingly  lighted,  you  could  do  so. 

"No  matter  where  the  Rathbones  are  keeping  house, 
on  their  next  anniversary,"  whispered  Patsy  as  we  left, 
"we  do  hope,  don't  we,  that  they'll  invite  us  to  see  them!" 

"If  anybody  wanted  me  to  nominate  the  original  loca- 
tion  of  the  Garden  of  Eden,  I'd     (Continued  on  page  129) 


64 


SCREENLAND 


The  interior  of  Loews  Granada  Thea- 
ter in  Cleveland,  Ohio,  is  a  good 
example  of  the  many  surfaces  with 
which  Sound  likes  to  keep  a  rendez- 
vous. Just  imagine  the  fun  Sound 
would  have  bouncing  from  the  statue 
to  the  vase  and  back  again.  But  the 
wall  at  the  right  is  draped  by  Western 
Electric  engineers.  They  also  give 
Sound  just  enough  power  so  that 
when  it  arrives  in  Bacchante's  garden 
it  gives  her  just  a  nice,  soft  caress. 


The  Answer  is  a  Four- 
Letter  Word  that  Helps 
You  Keep  the  Big  Date 
at  your  Pet  Theater 


By 

William  J.  Reilly 


What  Keeps  the 
Talkies  Talking: 


? 


A  laddin  is  rubbing'  his  eyes  these  days  instead  of  his 

/  \  lamp.  He  learns  that  Mickey  Mouse  is  squeal- 
/  %^  ing  in  Cairo,  Egypt,  as  well  as  in  Chillicothe,  O., 
and  that  when  Gary  Cooper  pours  a  drink  in 
"The  Virginian,"  it's  a  shot  heard  'round  the  world. 

Aladdin  wonders  how  the  picture  theaters  got  that  way 
— those  Cinderella  playhouses  that  used  to  sit  by  the  fire, 
silent,  until  the  Prince  came  along  with  the  glass  slipper 
and  forty-one  crated  boxes  of  Sound  Projector  apparatus. 

It's  all  very  glamourous — not  only  how  the  picture 
theaters  got  that  way,  but  how  they  \eep  that  way.  For 
once  the  Roxy  in  New  York  or  the  State  Theater  in  Red 
Bluff,  Calif.,  finds  its  voice,  the  tradition  "On  with  the 
show"  acquires  a  new  significance.  The  theater  must  be 
kept  in  good  voice  and  it  takes  an  army  of  ear,  eye,  and 
throat  specialists  to  do  the  job. 

You'd  think  Hollywood  would  have  called  in  the  medical 
profession,  lock,  stock,  and  stethescope  when  talkies  began 
playing  in  theaters  everywhere.  Doctors  are  used  to  being 
hauled  out  of  bed  at  all  hours  of  the  night.    And  when  a 


piece  of  talkie  apparatus  gets  sick  in  a  theater,  Old  Doc 
Fixit  has  to  grab  his  prescription  tablet  in  a  hurry. 

Your  ear  is  queen  now,  and  the  queen  must  be  amused. 
But  instead  of  calling  in  the  medical  profession  to  nurse 
its  delicate  talkie  machinery,  Hollywood  recruited  a  brand 
new  bunch  of  experts  who  combine  the  qualities  of  the 
Northwest  Mounted  Police,  the  U.  S.  Marines,  the  air 
mail  pilots,  and  the  fastest  down-the-pole  sliders  of  the 
New  York  City  fire  department. 

For  it's  very  important  to  be  able  to  get  your  pants  on 
in  a  hurry  when  a  theater  owner  calls  you  on  the  tele- 
phone and  moans:  "My  amplifier's  gone  haywire  and  Jack 
Oakie  sounds  like  four  Hawaiians  playing  a  zither." 

Screenland  wanted  its  readers  to  know  what  it's  all 
about — since  it's  in  the  theater  we  hear  Jack  Oakie  and  all 
his  playmates.  So  the  editor  said,  "Let's  send  our  dumbest 
reporter.     If  he  can  get  this  technical  business  through 

his  head"  .    Came  a  pause  and  then  something  was 

said  about  my  idea  of  mechanics  beginning  and  ending 
with  an  eye-dropper.    But  I  let  that  pass. 


for    August  1930 


65 


"Give  him  eight  days'  emergency  rations  and 
a  diving  suit,"  Miss  Evans  went  on,  "and  let  him 
get  to  the  bottom  of  things." 

Remember  the  story  about  the  man  who'd  lost 
his  mule?  Well,  I  figured  out  what  a  mule  would 
do,  so  I  went  to  the  Western  Electric  Company. 
Largest  manufacturer  of  talking  picture  apparatus 
in  the  world;  talkie  pioneers  with  Warner 
Brothers;  about  99  per  cent  of  the  producers  use 
their  equipment  to  make  sound  pictures.  If  any' 
body  could  help  me,  they  could. 

Believe  it  or  not,  the  first  thing  I  did  when  I 
called  on  Western  Electric  was  to  run  smack  bang 
into  ERPI.  And  oh,  what  a  pal  was  ERPI! 
Next  time  your  cross  word  puzzle  asks  for  "A 
four  letter  word  meaning :  What  keeps  the  talkies 
talking?"  just  write  down  ERPI.  It's  the  answer 
to  the  talkie  maiden's  prayer. 

Like  the  Prince  of  Wales,  ERPI  has  a  lot  of 
name.  Its  complete  title  is  Electrical  Research 
Products,  Inc.  You  see,  when  Western  Electric 
decided  to  go  in  for  talkies  in  a  big  way,  it 
organized  a  special  company  for  the  purpose.  So 
the  child  was  formally  christened  Electrical  Re- 
search Products,  Inc.  It's  the  only  child  that 
ever  talked  when  it  was  a  day  old.  As  a  reward, 
its  godfather,  the  board  of  directors,  decided  to 
follow  the  good  old  American  custom  of  reducing 
everything  to  initials.  Hence,  ERPI — pronounced 
something  like  Herbie,  with  the  H  dropped  as  at 
Oxford. 

A  good  scout,  ERPI. 
Helps  Alice  White  keep 
more  dates  with  her  boy 
friends  in  the  theaters  than 
her  sex  appeal.  Without 
ERPI,  girls,  you  couldn't 
palpitate  to  Buddy  Rogers. 
Move  over  and  make  room 
for  ERPI.    He  belongs. 

This  new  talkie  child  does 
not  live  with  its  parents.  It 
has  a  place  all  its  own — 
many  floors  of  the  Fisk 
Building,  250  West  Fifty- 
seventh  Street,  New  York. 
From  there,  in  the  United 
States  alone,  radiate  300  ter- 
ritories, 50  districts  and  40 
offices,  the  service  army  of 
the  talkies,  transforming 
silent  screens  into  audible 
ones,  and  seeing  to  it  that 
the  delicate  mechanism  of 
your  favorite  entertainment 
is  kept  working. 

As  I  said  above,  when 
the  Prince  comes  to  the 
silent  Cinderella  playhouse, 
he  brings  not  only  the  glass 
slipper,  but  forty-one  crated 
boxes  of  Sound  Projector 
equipment.  Even  when  it's 
all  assembled  and  working  it 
requires  thirty-three  different 
operations  to  set  it  in  mo- 
tion, keeping  the  operator  in 
the  little  booth  high  up  in 
the  theater  busier  than  a 
Swiss  bell  ringer.    There  are 


The  man  behind  the  machine  behind  the  talkies — 
hitching  the  voice  to  the  film.  Both  the  Vitaphone 
disc  method  and  the  Movietone  sound-on-film  system 
are  watched  over  by  ear,  eye,  and  throat  specialists. 
Above:  without  this  engaging  little  gadget  you'd  never 
hear  Garbo — or  anyone  else — talk  from  the  screen. 
It's  the  photo-electric  cell. 


895  parts  and  not  one  of  them  can  go  sour,  else 
Mitzi  Green,  imitating  Moran,  of  Moran  and 
Mack,  sounds  like  a  child  that  ought  to  be  spanked. 

Every  organization  has  a  motto.  Western 
Electric  has  one,  and  by  the  nature  of  this  grand 
and  glorious  talkie  art,  it's  double-barrelled,  like 
this: 

1.  Keep  it  on. 

2.  Keep  it  sweet. 

The  'It'  being  not  what  Clara  Bow  has  so  much 
of,  but  Sound.  Sound  must  be  kept  on  the  screen 
and  it  must  be  kept  sweet.  So  ERPI  is  dedicated 
to  the  proposition  that  all  ears  must  hear,  and 
what  they  hear  must  be  sweet. 

There  is  nothing  haphazard  about  the  way  this 
double-barrelled  motto  is  lived  up  to.  At  Western 
Electric,  Milt  Gross  would  be  knocked  bow-legged 
to  find  the  answer  to  his  constant  query:  "Iss 
dis  a  seestem?"  The  answer  is:  'Yes.  It  cer- 
tainly is  a  system." 

From  coast  to  coast,  an  army  of  800  ERPI 
acoustic  engineers  is  on  call  until  eleven  o'clock 
at  night — theater  closing  time — for  emergency 
service  at  theaters  using  Western  Electric  sound 
equipment.  It  cost  a  million  dollars  to  train  these 
men  and  to  teach  them,  among  other  things,  to 
diagnose  talkie  trouble  in  the  theaters.  Just  as 
a  doctor  looks  at  your  tongue  and  advises  that 
you  are  ailing  in  a  part  of  your  anatomy  quite 
remote,  so  these  engineers  are  trained  to  know, 
for  instance,  that  an  unsteady  voice  pitch  on  the 
screen  has  its  origin  in  dust 
on  the  film  sprocket  of  the 
projector. 

When  an  emergency  arises, 
the  ERPI  service  men  try, 
if  possible,  to  prescribe  the 
remedy  over  the  telephone, 
should  the  theater  be  a  dis- 
tant one.  If  the  telephoned 
prescription  does  not  work 
right  away,  they  hop  to  it 
at  once  in  person. 

'Hop'  is  the  word.  An 
ERPI  man  flew  from  New 
Orleans  to  give  first  aid  to  a 
theater  in  a  little  parish  in 
upper  Louisiana.  Over  in 
Denmark  the  telephone  clat- 
tered one  night  in  the 
Copenhagen  office  of  West- 
ern Electric  at  ten  o'clock. 
A  theater  in  Malmo,  Sweden, 
was  sending  out  the  talkie 
SOS.  A  quick  consultation 
over  the  'phone,  and  the 
Western  Electric  engineer, 
with  a  kit  full  of  spare  parts, 
was  on  his  way  to  Malmo  in 
a  fast  passenger  plane.  Fly- 
ing through  the  darkness 
over  the  Kattegat,  the  arm 
of  the  North  Sea  between 
Jutland  and  Sweden,  he  ar- 
rived in  Malmo  in  time  to 
repair  the  trouble  and  have 
the  show  on  again  at  half 
past  ten. 

As  I  said  before,  it's  a 
(Continued  on  page  116) 


66 


SCREENLAND 


Yes,  Yes,  Jeanette! 


Old  Man  'Mike'  has  put  the  final  seal 
of  approval  on  Miss  Loff's  screen  career 


By 

Charles  Carter 


HER  best  friends  didn't  know  it,  and  therefore 
couldn't  tell  her. 
They  discovered  it,  however,  at  a  preview  of 
"King  of  Jazz;,"  and  did  they  tell  her?  They 
most  certainly  did.  They  said  it  with  flowers,  with  con- 
gratulations,  with  words  of  praise  seldom  showered  on  a 
young  actress  by  her  Hollywood  associates. 

It  is  the  romantic  story  of  how  Hollywood  found  out 
that  Jeanette  Loff  could  sing.  Hollywood  knew  she  could 
act.    But  sing?  Even  her  best  friends  didn't  suspect  that. 

But  the  day  came  when  Paul  Whiteman's  big  revue 
was  to  be  previewed  for  a  group  of  film  executives  and 
exhibitors.  It  was  accepted  as  a  matter  of  course  that 
Jeanette  Loff  would  acquit  herself  well.  But  they  weren't 
prepared  for  the  surprise  she  had  in  store  for  them. 

Miss  Loff  sang,  and  at  the  first  notes  there  were  some 
low  exclamations  throughout  the  darkened  theater.  They 
expressed  surprise,  incredulity,  skepticism.     Her  friends 
held  their  breath,  just  hoping  for  the  best. 
But  they  were  not  long  kept  in  suspense, 
for  the  voice  they  listened  to  was  clear 
and  sweet,  and  melodious — an  ideal  screen 
voice. 

Success  has  come  easily  to  Jeanette  Loff. 
She  has  never  been  conscious  of  struggling 
or  fighting  her  way  to  success.  That  is 
why  she  is  sometimes  out  of  sympathy 
with  the  traditional  stories  of  hardships 
and  disappointments  that  are  inseparable 
from  the  experiences  of  girls  who  seek 
fame  in  Hollywood. 

"I  suppose  I'm  not  really  entitled  to 
enjoy  my  good  fortune,"  said  Miss  Loff 
in  reviewing  her  comparatively  brief 
career  in  filmland,  "for  I  seem  to  have 
attained  it  without  those  heartaches  and 
privations  which  most  girls  seem  to  have 
endured  in  winning  their  way  from  the 
bottom.  To  me  the  whole  experience  has 


been  enjoyable,  even  from  the  very  first,  although  there 
were  times  when  it  didn't  seem  that  I  was  going  to  go 
very  far. 

"Of  course,  there  were  baffling  situations  that  came  my 
way,  and  now  and  then  I  had  to  meet  some  severe  tests, 
but  I  just  accepted  them  as  they  came  along,  did  the  best 
I  knew  how,  and  the  rest  took  care  of  itself." 

Jeanette  takes  no  little  pride  in  the  boast  that  she  has 
attained  her  place  in  the  sun  without  pull'  or  undue  favors. 
She  has  asked  little  except  a  chance,  and  has  scorned  ad- 
vantages to  be  gained  by  any  other  means  than  merit. 

Her  resemblance  to  Vilma  Banky  threatened  her  chances 
for  a  while.  Was  there  a  place  on  the  screen  for  the 
lovely  blonde  who  looked  so  much  like  the  Hungarian 
Rhapsody?  Jeanette  solved  the  problem  by  displaying  her 
own  personality,  entirely  different  from  Vilma's.  So  she 
was  welcome. 

She  came  to  Hollywood  without  any  definite  ambition 

to  get  into  pictures.  As 
a  girl  in  the  remote 
lumber  town  of  Oro- 
fino,  Idaho,  she  played 
the  piano  for  the  local 
picture  theater,  and 
there  gained  her  first 
impression  of  motion 
pictures.  Later  she 
played  for  a  larger 
theater  in  Portland, 
Oregon,  but  the  virus 
of  Hollywood  never 
got  into  her  blood. 

When  she  did  even- 
tually  come  to  Holly- 
wood it  was  merely  as 
a  visitor,  and  she  had 
only  the  ordinary  visi- 
tor's curiosity  about  the 
studios.  She  never 
thought  seriously  of 
trying  to  'crash'  the 
game. 

But  her  comely  face* 
and  blonde  hair  made 
impressions  here  and 
there  and  the  time 
came  when  she  was  in- 
duced to  try  her  luck 
with  the  camera.  She 
accepted  the  oppor- 
tunity with  a  half  skep- 
tical reluctance,  but 
soon  found  herself  in 
demand.  Leads  began 
to  be  offered  and  she 
played  th&m  well.  Now 
— she's  set.  Watch 
Jeanette  Loff! 


Everything  is  coming 
her  way  now.  But 
there  was  a  time  when 
Jeanette  Loff's  resem- 
blance to  Vilma 
Banky  threatened  her 
future  on  the  screen. 

The  king  of  jazz  and 
a  blonde  queen  oj  the 
film  colony:  Paul 
W hit  em  an  and  the 
leading  lady  of  his 
revue,  Miss  Loff.  The 
speakies  brought  Jean- 
ette new  success  on 
the  screen.  She's  all 
set  for  future  glory. 


Photograph  by  Elmer  Fryer,  First  National 

The 

iJvLost  ^Beautiful  Still 
of  the  iJVLonth 


From  "UNDER  WESTERN  SKIES" 


THE  Great  Emancipator,  as  portrayed  by 
Walter  Huston  in  the  D.  W.  Griffith  pic- 
ture, "Abraham  Lincoln."  Mr.  Huston  achieves 
a  memorable  impression,  speaking  dialogue 
written  by  the  poet,  Stephen  Vincent  Benet. 


A COLORFUL  character  from  French  his- 
tory is  revived  for  the  screen.  William 
Farnum  as  King  Louis  XV  in  "Du  Barry, 
Woman  of  Passion,"  the  new  Norma  Talmadge 
film.  Welcome  back  to  pictures,  Bill  Farnum! 


THE   new  blonde   beauty   of  screenland: 
Claudia  Dell,  lately  an  ornament  of  Mr. 
Ziegfeld's  Follies,  now  the  heroine  of  "Sweet 
Kitty  Bellairs."    Warner  Brothers  predict  star- 
dom for  her  soon.    Not  surprising. 


Kenneth  Alexander 


THE  latest  portrait  of  the  stellar  gentleman 
who,  after  some  years  in  Hollywood,  still 
remains  more  or  less  of  a  mystery:  Mr.  Ronald 
Colman.    If  mystery  accounts  for  his  charm, 
may  it  never  be  solved! 


Gloria,  in  her 
new  film, 
"What  a 
W  i  d  o  w , " 
wears  these 
unusual  crea- 
tions. Right: 
a  close-up  of 
the  dashing 
widow's  hat. 


Left :  the  tea 
gown  of  the 
season!  Gloria 
wears  with 
grace  this  trans- 
parent black  silk 
velvet  gown 
with  sle  ev  e  s 
forming  large, 
circular  flounces 
at  wrists. 


Gloria 

SWANSON 


Below:  a  leopard  lady!  Miss  Swanson's 
suit  is  of  beige,  with  beige  satin  blouse. 
The  coat  and  her  hat  are  leopard-trimmed. 


1 


Above:   Gorgeous   Gloria's   most  gracious  gown. 
It  is  of  nude  satin,  using  both  sides  of  the  mate- 
rial.   Circular  cape  collar  falls  over  one  shoulder 
to  form  train. 


Below:  a  street  ensemble  in  black  flat  crepe  and 
grey  cloth,  trimmed  with  astrakhan,   worn  with 
close-fitting  black  felt  hat. 


Widow's    weeds    of    black    crepe,    trimmed  with 
white  silk  pique.   The  black  felt  hat,  has  a  short 
white  veil  set  in   beneath  a  circular  black  veil 
reaching  to  the  floor. 


AND  HER 

New  Clothes 


All  photographs 
by 

Russell  Brill 


Right:  You'll  find 
few  sports  suits  as 
smart  as  this  worn 
by  Gloria  Swanson. 
Of  blue,  it's 
trimmed  with  har- 
monizing suede. 
The  beret  is  of 
blue    suede  also. 


VV7  ILLIAM  BAKEWELL  has  one  of  the 
W    brightest  futures  in  all  Hollywood,  says 
Douglas  Fairbanks,  with  whom  Billy  played  in 
"The  Iron  Mask."    Bakewell  is  now  seen  in 
"All  Quiet  on  the  Western  Front." 


DOROTHY  RE- 
VIER  is  in  de- 
mand these  days.  She 
has  just  played  the 
good  girl  in  "The 
Bad  Man,"  a  depar- 
ture from  her  usual 
sirenic  roles,  and  a 
welcome  change  for 
this  clever,  ambitious 
young  actress. 


NOW  that  she  has  won  stardom  strictly  on 
her  own  merits,  Joan  Crawford  may  not 
object  if  we  call  your  attention  to  her  really 
amazing  resemblance  to  Pauline  Frederick  in 
this  very  stunning  new  portrait. 


THIS  picture  gives  you  an  idea  of  what  you 
may  expect  of  Richard  Dix  in  the  future. 
He's  through — fed  up — with  light  comedy,  and 
will  play  smashing,  two-fisted  parts  beginning, 
soon,  with  "Cimarron,"  by  Edna  Ferber. 


Lansinff  Brown 


VIRGINIA  VALLI,  one  of  the  most  provo- 
cative personalities  in  Hollywood,  has 
been  dividing  her  time  between  stage  and 
screen.  Can't  we  all  get  together  and  persuade 
her  to  be  true  to  her  first  love,  pictures? 


J 


for    August  1930 


83 


GARBO'S 

NEW 

Screen 
Lover 

Introducing 
Gavin  Gordon 

By  Ralph  Wheeler 


A  long  about  the  time  the  world  had  been  made  safe 
/  \      for  democracy,  a  gawky  young  man  shook  the 
sawdust  out  of  his  mail-order  suit  and  left 
Chicora,  Mississippi,  to  struggle  along  as  best  it 

could. 

His  name  was  Gavin  Gordon. 

He  was  out  to  do  Big  Things.  Maybe  he'd  be  a  rail' 
road  president  or  a  congressman.    Or  a  soda  clerk,  anyway. 

In  Mobile,  Alabama,  he  discovered  motion  pictures. 
The  first  one  he  saw  was  a  wild-and-wooly  Western  star- 
ring  Jack  Gardner.  Well,  now  that  was  something  like 
it.    He,  too,  would  be  a  movie  star! 

A  few  weeks  later,  he  slipped  a  clipping  from  a  maga- 
zine in  his  pocket  and  made  Chicago  to  answer  an  ad: 

"No  experience  necessary!  New 
faces  needed  for  motion  pictures — 
School  of  Cinematic  Expression." 

"How  much  do  you  pay?"  he  naively 
inquired. 

"We  don't  pay  anything — you  pay 
us!"  he  was  told. 

And  so  Gavin  Gordon — now  Greta 
Garbo's  leading  man — went  to  work 
as  a  stenographer.  And  stuck  to  his 
typewriter  for  five  years. 

"At  home  there  was  nothing  but  a 
sawmill  and  so  I  worked  there  before 
I  left,"  he  said  with  a  reminiscent 
chuckle.  "You  can  imagine  how  thor- 
oughly  unworldly  I  was  when  I  remind 
you  that  I  had  no  idea  what  a  motion 
picture  was.  I  worked  as  a  waiter. 
I  worked  as  a  bill  clerk.  I  was  a 
cook.  In  fact,  I  can't  recall  any  jobs 
around  that  I  didn't  work  at  to  save 
money  so  I  could  get  out  into  the 


Gavin  Gordon. 

like  h 


Mr.  Gordon,  from  the  stage,  is  the  lucky  actor  chosen 
to  play  opposite  the  ineffable  Greta  in  "Romance." 
Here  is  a  scene  from  the  new  Garbo  film. 

world,   away   from   the  monotony  of  small  town  life. 

"For  five  years  I  worked  in  Chicago  at  my  stenographic 
job  in  a  railway  office.  When  I  was  nineteen  years  old 
I  saw  my  first  stage  play  and  my  enthusiasm  for  play- 
acting swept  away  whatever  visions  I  had  left  of  my 
earlier  movie  ambitions.  I  saved  my  money  and  went  to 
dramatic  school,  studying  every  stage  star  I  saw  and  prac- 
ticing all  the  parts  in  front  of  my  mirror.  Then  I  met 
Grant  Mitchell  through  my  railway  job  and  begged  him 
for  a  chance  on  the  stage.  It  was  through  Mitchell  that 
I  gained  entree  to  the  New  York  stage." 

Towering  two  inches  better  than  six  feet,  tipping  the 
beam  at  a  graceful  175  pounds,  Gordon's  commanding  ap- 
pearance and  Southern  drawl  made  an  impression  upon 
producers.  He  played  parts  on  Broad- 
way and  stock  anywhere  he  found  a 
job,  building  himself  up  until  he  at- 
tained an  eminent  rating  in  such 
plays  as  "Simon  Called  Peter,"  "The 
Fool,"  "Romeo  and  Juliet,"  and  recent 
hits  in  "Celebrity"  and  "Crashing 
Through." 

"All  of  this  time  I  had  quite  for- 
gotten about  motion  pictures,  although 
the  talking  screen  was  rapidly  draw- 
ing actors  from  the  theater.  While  I 
was  playing  with  Edward  Everett 
Horton  in  Los  Angeles,  however,  I 
tried  a  talkie  part  in  'The  First  Com- 
mand' between  shows  but  didn't  intend 
to  give  up  my  plans  to  return  to  New 
York  as  soon  as  the  engagement  was 
up.  The  decision  to  cast  me  opposite 
Greta  Garbo  in  'Romance'  was  more 
How  do  you  °^  a  surPrise  t0  me  than  anyone  else. 

tm?  I  had  made      (Continued  on  page  125) 


84 


Reviews 


SCREENLAND 


the 


Phillips  Holmes  and  Nancy  Carroll  in  "The  Devil's 
Holiday,"  the  best  picture  of  the  month. 


Fred  Scott  and  Helen  Twelvetrees  in  the  circus  drama 
with  music,  "Swing  High." 


The  Devil's  Holiday 

A  LSO  a  holiday  for  any  screen  audience.  You  may  wonder 
/ \  why  I  select  this  as  the  outstanding  picture  of  the  month 
/  \  when  it  has  no  March  of  the  Grenadiers,  no  ballet, 
"^not  even  a  theme  song — until  you  see  it.  Then  you'll 
understand.  It's  a  little  masterpiece — an  original  story  di- 
rected by  a  man  who  has  grown  up  with  the  movies.  Edmund 
Goulding  is  his  name.  He  did  "The  Trespasser."  He  lifts 
Nancy  Carroll  out  of  the  rut  of  pretty  heroines  and  she  becomes 
a  magnificent  actress.  He  provides  a  part  for  Phillips  Holmes 
that  makes  that  young  man  a  potential  star.  He  creates  vital 
scenes  instead  of  mere  situations.  He  has  everything  a  director 
needs :  imagination,  poetry,  humor,  intuition,  good  taste.  You 
watch  him !  His  story  of  the  charming,  innocent  boy  in  the 
clutches  of  a  mercenary  manicurist  is  surprisingly  absorbing, 
touching,  and  tender.  His  direction  makes  it  so.  Nancy  is 
a  revelation:  no  longer  a  musical  comedy  cutie,  but  an  actress. 
Hobart  Bosworth  is  splendid.  Ned  Sparks  and  Zasu  Pitts  are 
legitimately  funny.    You  must  not  miss  this. 


Swing  High 


UNLESS  you  are  too  old — or  is  it  too  young? — to  enjoy 
circuses,  "Swing  High"  should  appeal  to  you.  It  is 
one  long,  continuous  performance  under  the  Big  Top. 
An  old-fashioned  circus  in  the  good  old  days  before 
Cinderella  ballets  and  spectacular  extravaganzas  is  the  setting. 
The  characters  are  the  circus  people:  for  heroine  we  have  the 
'dainty  little  queen  of  the  air';  for  villain,  the  sonorous  ring- 
master— against  a  background  of  parades  and  performances,  and 
through  it  all  the  familiar  sound  of  the  calliope,  with,  it  must 
be  admitted,  a  theme  song  or  two  thrown  in  for  good  measure. 
There  is  a  comfortable,  old-fashioned  flavor  about  "Swing  High." 
Seldom  are  you  conscious  of  the  Hollywood  mechanics  that 
make  its  wheels  go  round.  Perhaps  Helen  Twelvetrees  has 
something  to  do  with  this  fine  flavor.  She  is  an  elfin,  appeal- 
ing creature,  but  not  too  quaint;  for  all  her  Gish-like  grace, 
she  is  warm  and  human  and  very  pretty — a  gay  Gish.  Fred 
Scott  is  a  sweet-singing  hero.    Excellent  entertainment. 


The  King  of  Jazz 


Paul  Whiteman,  Sisters  G,  Stanley  Smith,  and  Jeanette 
Loff    in   "The   King    of  Jazz." 


SIMPLY  the  last  gasp  and  the  final  toot  of  the  saxophone 
in  musical  movie  revues.  Just  as  Paul  Whiteman  is 
the  best  and  the  biggest  of  all  the  jazz  band  men,  so 
his  revue  is  the  most  massive  and  elaborate  ever  con- 
cocted, and  it  will  be  hard  to  top  it.  Even  if  you  think  you 
have  had  enough  of  screen  revues  you  must  wind  up  your 
season  by  seeing  this  one,  if  only  because  of  the  Rhapsody  in 
Blue  number.  The  Gershwin  masterpiece  has  been  staged  by 
John  Murray  Anderson  and  played  by  Whiteman  and  his  boys 
so  that  you'll  never  forget  it,  in  case  you  were  ever  allowed 
to  do  so.  Jeanette  Loff,  the  blonde  beauty,  finds  her  voice — 
and  it's  a  sweet  one.  John  Boles  sings  especially  well  in  a 
smashing  cowboy  number.  The  Sisters  G  dance.  William 
Kent  is  funny.  Murray  Anderson  has  shown  imagination  and 
exhibits  his  keen  flair  for  beauty;  he  has  something  for  the 
screen.  There  isn't  enough  of  Whiteman,  believe  it  or  not. 
The   big   boy   has    an   ingratiatingly   modest   screen  presence. 


for   August  1930 


85 


Best  Pictures 


ScreenlancTs  Critic  Selects 
The  Six  Most  Important 
Films  of  the  Month 

The  Silent  Enemy 


DID  you  like  "Nanook  of  the  North?"  And  "Grass?" 
And  "Chang?"  Then  do  not  miss  "The  Silent  Enemy." 
■  It  is  a  motion  picture  for  families,  and  unlike  most 
'family'  films,  it  is  not  a  bore.  School  children  will  en- 
joy it  more  than  the  wildest  western.  It  is  exciting — and  it  is 
real.  Screenland  told  you  last  month  about  the  Burden  boys' 
movie  venture  in  the  Canadian  wilds.  "The  Silent  Enemy"  is  the 
result  of  their  trek  into  the  wilderness.  It  is  an  always  enthrall- 
ing record  of  the  daily  life  of  the  Ojibway  Indians,  waging  their 
battle  against  the  silent  enemy — hunger.  There  is  more  drama 
in  this  authentic  account,  enacted  by  real  Indians,  than  in  a 
dozen  Hollywood  triangles.  You'll  like  the  little  Indian  boy, 
Chinko,  with  his  black  bear-cub  pets,  Amos  'n'  Andy's  only 
rivals;  Yellow  Robe,  the  stately  chief;  Long  Lance,  the  young 
and  stalwart  'hero';  Starlight,  the  pretty  'heroine';  and  the 
supporting  cast  of  bears,  bull  moose,  and  caribou.  A  fight 
between  a  bear  and  a  mountain  lion  provides  the  big  thrill 
of  the  month.    A  picture  worthy  of  your  patronage. 


Bride  of  the  Regiment 


EVER  hear  of  Walter  Pidgeon?  Well,  you're  going  to 
from  now  on  if  the  excitement  he  causes  in  the  role 
of  the  swashbuckling  colonel  in  "Bride  of  the  Regi- 
ment" is  any  criterion.  Pidgeon  plays  the  kind  of  a 
colonel  who  orders  a  rascal  shot,  and  then  turns  and  embraces 
the  first  lovely  lady  who  happens  to  come  his  way.  As  she  is 
Myrna  Loy,  it  only  proves  the  colonel  has  good  taste  as  well  as 
a  flair  for  stunning  uniforms.  But  he  turns  again,  this  time 
to  Vivienne  Segal;  has  her  husband  locked  up  in  a  stuffy  dun- 
geon, then  begins  his  most  ardent  love-making — all  to  pretty 
tunes.  This  picture  has  its  sophisticated  moments;  even  musi- 
cal comedy  movies  are  growing  up.  For  sheer  beauty  in  color 
photography  it  ranks  pretty  close  to  the  top.  There  are  stirring 
camera  shots  of  the  cavalry  galloping  along  a  forest  road  in 
the  moonlight;  and  glittery  scenes  of  a  'revel'  in  the  castle. 
Pidgeon  sings  a  rousing  military  song;  Alan  Prior  contributes 
a  fine  tenor;  Ford  Sterling,  Louise  Fazenda  and  Lupino  Lane 
supply  the  fun.    A  musical  and  optical  treat. 

All  Quiet  on  the  Western 
^  Front 

MORE  than  a  motion  picture — a  terrific  experience,  this 
picturization  of  Eric  Remarque's  best-selling  war 
book.  It  is  as  stark,  sordid,  and  daring  as  the  original. 
Don't  go  to  be  entertained.  Prepare  to  be  shocked, 
shaken,  and  remorselessly  swept  along  by  this  realistic  depiction 
of  what  war  does  to  a  group  of  nice  lads.  Nothing  is  glossed 
over;  all  is  set  forth  on  a  living  screen.  Lewis  Milestone,  a 
director  who  has  never  gone  Hollywood,  disdains  the  superficiali- 
ties of  his  craft  and  sticks  to  the  truth.  The  result  is  a  motion 
picture  of  such  power  and  strength  that  some  strong  men  have 
walked  out  on  it;  but  everyone  will  want  to  see  it  if  only  to 
be  convinced  that  the  once-despised  screen  has  actually  come  of 
age.  Splendid  performances  by  Lew  Ayres,  Louis  Wolheim,  John 
Wray,  Russell  Gleason,  William  Bakewell,  Raymond  Griffith 
and  others.  War  shorn  of  sentimentalities  as  in  "All  Quiet 
on  the  Western   Front"  is  the  best  of  arguments  for  peace. 


Starlight,   Yellow  Robe,  and   Long  Lance,  real  Indian 
actors  in   "The  Silent  Enemy." 


Vivienne  Segal  and  Walter  Pidgeon  in  the  colorful 
operetta,  "Bride  of  the  Regiment." 


Lew  Ayres  and  Louis  Wolheim  in  the  great  war  drama, 
"All  Quiet  on  the  Western  Front." 


86  SCREENLAND 

Critical  Comment 


The  Big  Pond  Rich  People 

THAT  Chevalier!    I  wish  I  could  let  the  lady  who  sat  "W*   WISH  there  were  more  pictures  like  this  one.  You'll  enjoy 

next  to  me  in  the  Rialto  Theater  in  Times  Square,  New  j  j     every  minute  of  it.     It's  the  sweetest  and  cleanest  ro- 

York,  write  my  review.     Every  time  Maurice  smiled  I     mance  you  can  find  on  the  screen  today.    Don't  let  that 

or  sang  or  just  stood  and  looked,  she  would  sigh:  "Oh,  scare  you — it's  also  amusing.    Constance  Bennett,  one  of 

he's  so  sweet,  I  love  him."    It's  terrible  to  be  a  reviewer  and  the  two  or  three  most  glamourous  girls  in  the  movies,  plays 

have  to  control  your  emotions.     It's  no  secret  by  this  time,  the  heroine,  a  girl  with  so  much  money  that  men  are  afraid 

though,  than  even  case-hardened  film  critics  have  succumbed  of  her.     She  has  beauty,  charm,  a  sense  of  humor,  and  the 

to  the  Chevalier  charm.    Everything  and  anything  he  does  is  smartest  wardrobe  of  the  month — everything,  in  fact,  except  a 

all  right.    And  since  he  always  does  just  the  right  thing,  seeing  steady  beau.    Then  she  meets  Regis  Toomey  on  a  rainy  night 

a  Chevalier  picture  is  sheer  joy.    "The  Big  Pond"  offers  the  when  her  car  breaks  down — and  from  then  on  becomes  a  lady 

French  star  his  first  'straight'  role;  and  his  charm  is  just  as  northwest  mounty,  trying  to  get  her  man.     Regis  is  tempted, 

potent.     He  needs  no  uniform.     The  story  of  the  American  but  independent;  and  it  requires  all  the  heiress'  wiles  to  land 

heiress  and  her  game  Gallic  lover,  is  human  and  consistently  him.    "Rich  People"  is  just  the  picture  to  comfort  poor  little 

amusing.    Claudette  Colbert,  that  unbelievable  combination  of  girls;   and  to  convince  rich  ones   that  there's   still  a  chance 

heady  beauty  and  naturalness,  is   the  million  dollar  heroine.  for  them.    Regis  Toomey  is  grand.    See  this  one. 


The  Cuckoos 


The  Bad  One 


THE  product  is  all  that  the  name  implies!  But  you'll 
be  entertained  if  you  approve  the  brand  of  humor  intro- 
duced to  the  screen  by  Bert  Wheeler  and  Bob  Woolsey. 
All  of  "The  Cuckoos"  is  not  nearly  as  funny  as  just 
one  Wheeler- Woolsey  scene  in  "Rio  Rita";  but  it  is  funny 
enough  if  you  want  to  indulge  in  a  few  frank  and  unashamed 
horse-laughs.  After  all,  a  picture  in  the  good  old  slapstick 
tradition  has  its  place  on  a  screen  that  is  growing  more  arty 
day  by  day.  If  it  hadn't  been  for  custard-pie  comedy  we  might 
never  have  had  Gloria  Swanson.  Yes,  we  need  our  Wheelers 
and  Woolseys  to  keep  us  from  getting  high-hat.  Jobyna  Howland, 
whom  you  saw  in  "Honey,"  is  chief  comedienne  in  "The 
Cuckoos."  She,  too,  follows  the  broad  Sennett  tradition.  This 
picture  is  not  for  those  who  express  amusement  by  means 
of  snickers.     Only  loud  laughers  should  attend. 


WHY,  Ramona!  I  am  surprised.  Our  poetic  heroine 
turns  hot  tamale  on  us.  Never  mind,  it's  supposed 
to  be  good  box-office.  But  I  wonder  if  the  Dolores 
Del  Rio  fans  will  like  their  favorite  as  the  good 
little  bad  girl  of  the  Marseilles  dance  hall  for  whose  smiles 
strong  men  fight  and  kill.  The  stately  Del  Rio  in  such  a 
torrid  role  is  like  a  classicly  beautiful  cameo  that  suddenly 
sticks  out  its  tongue.  She  gives  an  intelligent  performance  that 
somehow  never  convinced  me.  "The  Bad  One"  starts  off  in 
"Cock-Eyed  World"  tempo,  only  to  slow  up  in  to  a  "Condemned" 
walk.  It  is  really  Edmund  Lowe's  picture.  As  the  rollicking 
sailor  who  captures  the  Bad  One's  hitherto  inaccessible  heart, 
Lowe  adds  another  portrait  to  his  popular  gallery  of  picturesque 
and  lovable  rough-necks.  The  love  scenes  are  in  the  very 
best  "What  Price  Glory?"  manner. 


for    August    2930  87 

on    Current  Films 


The  Light  of  Western  Stars 

WESTERN,  1930  style.  Thoroughly  enjoyable,  too, 
with  its  expensive  cast,  elaborate  mounting,  and  sane 
and  modern  direction.  Paramount's  brand  of  wild  and 
wooly  melodrama  is  making  fans  of  the  fathers  as 
well  as  the  small  boys — in  fact,  sonny  is  now  obliged  to  hurry 
through  his  home  work  and  take  dad  to  the  movies  to  see 
Dick  Arlen  ridin'  and  roamin'  his  way  through  his  latest  re- 
fined 'horse  opera.'  And  no  hardship  for  sonny,  either.  Arlen 
represents  the  New  Bill  Hart  school  of  western  heroes.  He 
doesn't  talk  to  his  horse  or  ride  away  into  the  sunset  all  alone. 
No — he  persuades  Mary  Brian  to  go  along.  Mary  is  charming 
as  always  as  the  girl  with  the  light  of  western  stars  in  her 
eyes.  But  Harry  Green  almost  runs  away  with  the  picture. 
What  Harry's  doing  out  on  the  western  plains  is  a  mystery; 
but  here   he  is,  and  very  funny,  too.     You'll   have  to  laugh. 


Ladies  Love  Brutes 

IF  you  want  to  be  chilled  and  thrilled,  let  George  do  it. 
Bancroft  is  indisputable  monarch  of  movie  melodrama.  His 
pictures  are  uncut — the  real  stuff,  with  a  kick.  You  can 
count  on  rousing,  red-blooded  entertainment  with  never  a 
lull.  And  while  George  is  always  the  big-hearted  brute,  he  is 
a  different  man  in  each  new  picture.  His  latest  presents  him 
as  a  big  steel  and  scaffold  man,  a  skyscraper  builder  in  the 
big  city.  He's  a  two-fisted  fighter,  a  man's  man — until  he  meets 
the  woman.  She  is  a  patrician  beauty;  but  they  have  one  com- 
mon interest — their  sons.  When  both  children  are  kidnapped 
the  thrills  come  faster.  You  won't  anticipate  the  outcome  of 
the  kidnapping  plot,  but  the  title,  "Ladies  Love  Brutes,"  di- 
vulges the  secret  of  the  romance  between  Mary  Astor,  as  the 
lovely  heroine,  and  Mister  Bancroft,  the  world's  most  success- 
f,,l  t--  Miss  Astor's  come-back  is  gratifying. 


Song  of  the  Flame 

A  T  last  we've  seen — and  heard — a  logical  reason  for  a  revo- 
/\  lution.  Not  musty  politics,  the  edict  of  a  king,  the 
/  V  chess-playing  of  a  bishop;  but  stirring  music  which 
"*~  excited  the  people  so  that  they  simply  had  to  up  and 
revolt!  That's  the  celluloid  low-down  on  the  recent  situation 
in  Russia,  according  to  "Song  of  the  Flame,"  which  is  a  notable 
picture  if  only  for  the  fact  that  George  Gershwin  and  Herbert 
Stothart  composed  the  music  responsible  for  the  upheaval. 
Bernice  Claire,  all  in  Technicolor,  looks  lovely  and  sings  splen- 
didly as  La  Flame  who  started  things;  while  Alexander  Gray 
emerges  as  a  prince  with  genuine  sex  appeal  and  an  always 
satisfying  voice.  Noah  Beery  contributes  an  amazing  baritone, 
booming  out  one  of  those  drinking  songs  with  great  gusto.  The 
music  makes  this  picture  one  of  the  real  treats  among  the 
celluloid  operettas.    Dramatically  it  fails  to  thrill. 


The  Texan 

REUNITING  Gary  Cooper  and  Fay  Wray  in  a  western 
that  turns  into  a  South  American  romance,  this  filmiza- 
tion  of  "The  Double-Dyed  Deceiver,"  will  please 
the  Cooper  addicts,  win  new  friends  for  Fay,  and 
pass  a  pleasant,  if  not  too  exciting  evening.  The  picture  has  plot 
aplenty,  with  all  the  twists  and  turns  for  which  O.  Henry  was 
famous.  Gary  plays  the  colorful  role  of  The  Llano  Kid,  who 
quits  his  native  state  in  haste  after  a  shooting  fray  and  mas- 
querades as  a  missing  son  so  convincingly  that  he  wins  a  nice 
little  old  lady's  regard  and  the  rather  more  sentimental  interest 
of  a  Latin  beauty.  You  may  be  surprised  to  meet  Fay  Wrray  as 
the  senorita;  don't  be,  for  Fay  is  a  versatile  actress  and  behaves 
becomingly  in  her  new  role.  Gary,  too,  steps  and  speaks  out, 
spouting  Spanish  most  acceptably  and  cutting  a  dashing  figure 
as  a  bold  hombre.  This  big  boy  is  becoming  a  real  actor. 


ss 


SCREENLAND 


REVUETTES  of 


The  Arizona  Kid 

You'll  go  expecting  another  "In  Old  Arizona." 
But  you  won't  get  it.  Like  most  sequels  this  fails 
to  arouse  the  enthusiasm  of  the  first  edition.  Again 
Warner  Baxter  smiles  and  swaggers  in  his  role  of 
Chico;  and  as  far  as  Warner  is  concerned,  the 
film  is  a  success.  He  cuts  a  dashing  figure  as 
the  bandit  with  the  price  on  his  head;  though  his 
banditry  seems,  in  this  picture,  to  be  confined  to 
heart-stealing.  Understandable  when  you  consider 
that  the  feminine  appeal  is  divided  between  Mona 
Maris  and  Carol  Lombard,  two  of  the  prettiest  girls 
on  the  screen.  The  blonde  Miss  Lombard  is  not 
quite  at  home  in  these  outdoor  surroundings;  but 
La  Maris  is  vivid  and  always  interesting  as  the 
real  romance  in  Chico's  colorful  career.  As  so 
often  happens,  the  authentic  scenery  and  the  hard- 
working players  are  much  better  than  the  prop  plot. 


The  Golden  Calf 

Or,  the  quest  for  the  perfect — er — limb.  Jack  Mulhall  plays 
the  artist  searching  for  the  comely  calf,  with  Sue  Carol  as  his 
old-fashioned  secretary  who  finally  says:  "Surprise,  surprise!" 
The  quaint  El  Brendel  and  the  pert  and  pretty  Marjorie  White 
help  make  this  an  entertaining,  if  light,  little  film. 


The  Runaway  Bride 

Here's  a  fast-moving  melodrama  that  will  never  let  you  down. 
The  plot  contains  pearls,  but  it  has  its  unexpected  moments 
as  well,  and  you  won't  be  bored.  Mary  Astor's  patrician  beauty 
and  practical  talents  make  the  heroine's  role  more  real  than 
usual;  while  Francis  MacDonald  and  Lloyd  Hughes  are  good. 


Strictly  Modern 

You'll  like  this  nice  little  romance.  Nothing  to  shout  about, 
but  a  relief  after  heavy  heart  affairs.  Dorothy  Mackaill  is  even 
more  charming  than  ever  in  the  most  sympathetic  role  she 
has  had  in  a  long  time;  while  Sidney  Blackmer  will  make 
many   friends   with  his   half-serious,   half-satirical  personality. 


The  Second-Floor  Mystery 

It  may  be  just  another  movie,  but  the  presence  of  the  latest 
leading  lovers  of  Hollywood,  Loretta  Young  and  Grant  Withers, 
will  lead  you  to  believe  it's  first-rate  entertainment.  These 
youngsters  are  refreshingly  real;  and  it  isn't  often  you  can 
watch  a  real  romance  being  enacted  for  your  special  benefit. 


for    August  1930 

OTHER 


89 

PICTURES 


The  New  Adventures  of 
Dr.  Fu  Manchu 

It  all  depends  upon  your  appetite  for  mystery  pic- 
tures. If  you  are  insatiable,  you'll  enjoy  the  fresh 
adventures  of  Dr.  Fu  Manchu.  For  hungry-thrill 
fans,  this  latest  screen  instalment  of  the  exploits 
of  the  sinister  Oriental  will  answer  its  frankly  melo- 
dramatic purpose.  If  you're  a  little  bewildered  to 
find  that  Warner  Oland,  whom  you  believed  success- 
fully exterminated  by  O.  P.  Heggie  of  Scotland  Yard 
several  months  ago,  is  still  alive  and  sticking,  keep 
your  questions  to  yourself.  Dr.  Fu  Manchu's  Ad- 
ventures will  run  on  forever — the  modern,  handsomely 
mounted  and  acted  talkie  editions  of  the  old  "Perils 
of  Pauline"  and  "Adventures  of  Kathlyn."  Jean 
Arthur  and  Neil  Hamilton  play  the  lovely  heroine 
and  handsome  hero  again,  while  William  Austin  pro- 
vides the  very  necessary  comedy  relief  for  blood- 
stained dragons,  screams,  and  clutching  hands. 


Wedding  Rings 


Bad  little  sister  steals  big  sister's  beau.  But  if  you  know 
your  movies  you  won't  be  worried.  Big  sister  is  no  sap,  espe- 
cially as  played  by  lovely  Lois  Wilson.  H.  B.  Warner  is  the 
man  disputed,  as  convincing  as  he  can  be  under  the  circum- 
stances.    Olive   Borden   is    the   provocative   third   film  party. 


Soldiers  and  Women 

The  real  feature  of  this  picture  is  the  appearance  of  Helen 
Johnson,  from  the  stage.  A  new  blonde  in  movieland  is  always 
an  event,  and  Helen  is  not  only  pretty — she's  clever.  Aileen 
Pringle  heads  the  cast  of  this  drama  of  army-post  love  intrigue, 
with  Grant  Withers  and  Walter  McGrail  as  hero  and  heavy. 


Temple  Tower 

The  sequel  to  "Bulldog  Drummond,"  without  Ronald  Colman. 
Hardly  sporting  to  compare  this  with  the  original.  Kenneth 
McKenna  does  fine  work  as  Drummond,  on  the  trial  of  a  masked 
master-mind.  Rather  imaginatively  directed,  too.  Marceline 
Day  is  attractive  girl  interest.    Henry  B.  Walthall  is  present. 


Sunny  Skies 

'Rah,  'rah — blah!  But  maybe  you  will  laugh  at  Benny  Rubin, 
who  turns  very  collegiate  for  this  campus  comedy.  Or  you 
may  like  Rex  Lease,  a  varsity  hero  of  the  approved  pattern; 
or  Marceline  Day,  as  the  special  sweet  young  thing.  There's 
Marjorie  Kane,  too — but  she  seems  to  be  no  relation  to  Helen. 


90 


SCREENLAND 


Building 

for 

'BEAUTY 


Exercise  Brings 
Circulation  and  Grace 
and  Beauty  Follow 


By 

Anne  Van  Alstyne 


Mid-summer!  At  least  it  soon 
will  be,  and  everything  tempts 
you  to  let  go  of  all  the  things 
you  ought  to  do  and  do  the 
things  you  want  to  or  else  do  nothing  at 
all.  All  winter  and  spring  you  attended 
to  your  home  and  business  and  brushed 
your  hair  and  did  setting-up  exercises  and 
paid  your  bills  and  kept  your  weight  down 
and  fulfilled  your  social  obligations.  You  disciplined  both 
mind  and  body  regardless  of  freedom  and  comfort  and 
were  good  and  conscientious  about  most  things! 

And  now — well,  as  I  said,  it's  summer.  There's  the 
perfume  of  gardens  and  the  tang  of  salt  air.  There  are 
warm,  moon-lit  nights  and  long  golden  hours  of  peaceful 
leisure.  If  one  is  ever  to  let  go  and  just  be  one's  self, 
now  is  the  time,  you  think. 

Yes,  all  right,  but  wait  a  minute.  To 
let  go  in  a  certain  way  is  all  right.  Re- 
laxation— all  you  can  command — is  splen- 
did. Goodness  knows  we  don't  get  a 
chance  at  it  very  often,  or  if  we  do,  we 
can't.  Relax,  I  mean.  And  to  let  go  of 
yourself — well,  that  depends  upon  what 
sort  of  person  you  are.  If  you  want  to  let 
go  of  the  self  you  are  and  make  yourself 
into  a  better  self — that's  fine.  But  if  you 
simply  want  to  neglect  yourself  physically 
and  mentally  for  the  sake  of  so-called 
leisure,  stop  and  think  a  bit.  Of  course, 
your  beauty  or  charm  or  whatever  you 
may  call  it,  is  yours  to  do  with  as  you' 
will.  But  look  ahead  a  little.  Summer 
leisure  doesn't  last  for  always.  Sooner,  or 
later,  you  have  to  face  again  the  demands 
of  every-day  life;  and  with  a  weather- 
beaten  skin,  dry,  lanky  hair,  a  spreading 
waist-line  and  ungraceful  body  what  price 


A  1930  silhouette.   Leila  Hyams,  a  very  good  example  of 
the  grace,  symmetry  and  youthful  vitality  that  come  from 
healthful  outdoor  activities. 


freedom  and  comfort  when  you  look  about  at  all  the 
slender,  well-groomed  others? 

Summer  is  the  time  to  build  for  beauty.  All  nature 
is  on  your  side.  Sunlight,  fresh  air,  all  manner  of  out- 
door activities  are  yours  for  the  taking,  all  conspiring  to 
add  to  beauty  in  every  form,  beginning  with  faces. 

We  all  agree  on  what  we  want  in  faces.    Firmness  of 


A  group  of  Hollywood  show  girls  take  full  advantage  of 
the  California  sunshine.    A  daily  sunbath  is  a  splendid 
tonic  and  conducive  to  health  and  beauty. 


for    August  1930 


91 


Leila  Hyams  practises  the  gentle  art  of  holding  herself 
correctly.   Head  up,  chin  in,  chest  out — a  posture  correct 
without  being  stiff  or  ungraceful. 


contour,  a  skin  or  firm  texture,  clear  and  smooth,  with 
the  natural  color  that  comes  from  good  elimination,  an 
active  liver,  sufficient  sleep  and  exercise.  You  can  have 
all  these,  as  I  have  told  you  many  times,  if  you  will  take 
intelligent  care  of  your  health  and  your  face.  But  you 
can  take  the  best  of  care  of  your  skin  and  not  get  the 
results  you  are  after  if  your  blood  is  sluggish.  The  face 
must  be  kept  clean  and  fed,  and  nothing  can  really  feed 
it  except  the  blood. 

At  the  beauty  salon,  the  specialist  smooths  a  good 
cream  into  your  skin,  and  if  she  thinks  you  need  it,  a 
circulation  cream.  With  trained  fingers  she  loosens  the 
tense  nerves  at  the  back  of  your  neck,  then  slaps  and 
pats  and  slaps  some  more  the  entire  surface  of  your  face 
to  bring  up  the  blood  and  help  the  cream  do  its  work. 
This  is  all  good,  but  better  than  pattings  and  slappings 
and  circulation  creams  is  exercise. 

Summer  is  the  season  for  exercise,  so  make  the  most 
of  it.  Sports  of  any  kind,  golf,  tennis,  riding,  swimming, 
sun-bathing,  dancing  in  the  open  air,  long  walking  trips 
are  all  conducive  to  building  strength,  beauty  of  line 
and  elasticity.  And  when  you  go  about  this  beauty 
building,  do  it  intelligently  and  with  your  own  individual 
need  in  view.  Be  careful  about  over-doing,  since  to  exer- 
cise to  the  point  of  exhaustion  is  to  defeat  one's  purpose. 

Swimming  is  a  favorite  summer  pastime  and  beneficial 
in  many  ways.  Sea  bathing  is  particularly  good,  its  great 
benefits  coming  not  only  from  the  change  of  air  and  a 
dip  in  the  surf  but  from  the  exercise  it  necessitates  and 


the  opportunity  it  gives  for  sunning  one's 
self  on  the  sandy  beach. 

General  rules  for  sea  bathing  should  be 
observed.  The  best  time  to  go  in  the 
water  is  two  hours  before  or  two  after 
eating;  and  choose  a  time  when  you  are 
not  greatly  fatigued  or  overheated  or 
perspiring,  as  under  such  circumstances 
proper  reaction  and  warmth  will  not  be 
likely  to  occur. 

Many  people  should  not  remain  in  the 
water  more  than  fifteen  minutes,  though 
vigorous  young  people  pay  little  heed  to 
such  rules  and  spend  the  greater  part  of 
the  morning  or  afternoon  dashing  about  in 
the  waves  and  sunning  themselves  dry  on 
the  clear  white  sand  of  the  beach.  In 
fact,  a  great  advantage  of  sea  bathing  or 
the  daily  swim  is  the  sun  and  fresh  air 
and  exercise  afterward,  which  permits  the 
entrance  of  sun  and  fresh  air  into  pores 
too  little  accustomed  to  either. 

Make  the  most  of  this  opportunity  in 
summer  for  out  of  door  sun-baths.  Put  on 
your  bathing  suit  or  beach  ensemble  or  a 
pair  of  comfy  rehearsal  rompers  and  hie 
to  the  garden  or  the  roof  or  any  con- 
venient outdoor  place,  and  let  every  little 
pore  of  the  skin  drink  in  the  air  and  sun- 
shine. Daily  exposure  of  the  person  to 
the  sun  is  a  splendid  tonic  and  beneficial 
to  both  health  and  beauty.  Take  care, 
however,  as  I  directed  last  month,  to  pro- 
tect the  skin  with  an  oil  or  cream  before 
exposing  it  to  the  direct  rays  of  the  sun; 
as    a    burned,  (Continued  on  page  114) 


\ 


Virginia  Bruce  induces  healthy  circulation  after 
a  shower  by   means   of  a   rough  towel  rubbed 
briskly  over  the  body. 


92 


SCREENLAND 


Barry  Norton  (then  Alfredo  Carlos  Biraben),  as  a 
'vegetable  man'  in  a  Los  Angeles  restaurant  where 
he  worked  for  two  months. 


What 
to  B 

IF  Barry  Norton  had  said  "yes"  instead  of  "no"  six 
years  ago,  he  might  have  had  then  what  he  has  today. 
That  is  a  Paramount  contract.  He  might  be  another 
big  star  now.  One  never  can  tell. 
One  night  in  early  1924,  Barry  Norton,  then  Alfredo 
Carlos  Biraben,  Jr.,  was  sitting  in  the  Pepper  Pot  Cafe  in 
Greenwich  Village  when  Miss  Bijou  Fernandez,,  who  had 
previously  selected  an  unknown  boy,  William  Haines,  and 
helped  him  to  stardom,  introduced  herself. 

"Would  you  like  to  go  into  pictures?"  she  asked. 
"Not  in  the  least,"  was  Norton's  emphatic  answer. 
"But  I  might  be  able  to  put  you  in  the  Paramount  Pic- 
tures  School." 

"I'm  not  at  all  interested,  I'm  sorry."  And  that  ended 
the  conversation. 

Today,  he  has  a  newly-signed  film  contract.  This  story 
is  going  to  be  about  the  years  between,  during  which  he 
has  had  more  experiences  than  ten  ordinary  boys  and  has 
been  down  to  the  place  where  he  had  a  few  dimes  in  his 
pockets  more  times  than  you  can  count  on  your  two  fingers. 

Barry  had  come  to  New  York  from  Buenos  Aires  with 
a  number  of  young  friends  for  the  purpose  of  having  a 
lot  of  fun  and  seeing  Luis  Angel  Firpo  lick  Jack  Dempsey. 
They  all  saw  the  fight  and  stayed  on  to  have  their  fun. 


Barry  and  Jack  Wendell  once  dug  ditches  together. 
Now,  Barry's  a  featured  player  for  Paramount  and 
Jack  works  in  the  nursery  department. 


It  was  during  their  week  in  New  York  that  Miss  Fernandez 
saw  Barry.  He  turned  down  her  offer  because  he  was 
doubtful  about  his  looks  and  ability.  An  allowance  came 
in  every  week  and  he  was  having  too  good  a  time  to  stop 
for  motion  pictures.  Anyway,  his  plans  were  to  return 
to  Buenos  Aires  for  a  political  career.  So  Barry  continued 
his  round  of  pleasure. 

Before  sailing  to  South  America,  the  young  Argentinian 
thought  seriously  of  Hollywood,  and  the  fascination  got 
into  his  imagination.  And  when  the  boat  landed  in  Buenos 
Aires  with  his  friends,  Norton  was  in  Hollywood.  The 
elder  Biraben  disagreed  entirely  with  the  idea  of  a  motion 
picture  career  for  one  of  his  family  and  wired  that  either 
his  son  should  come  home  or  have  his  allowance  cut  off. 
Barry  decided  to  see  if  Miss  Fernandez;  was  right.  So 
without  his  allowance  but  with  the  determination  of 
Alfredo  Carlos  Biraben,  Jr.,  the  boy  began  to  build  the 
personality  of  Barry  Norton. 

He  went  to  the  Paramount  studios  in  Hollywood  but  the 
office  boys  refused  to  let  him  go  past  the  gates.  Barry 
went  to  all  the  studios.  He  sold  one  of  his  suits  of  clothes 
at  a  time  in  order  to  eat.  He  got  a  position  as  assistant 
clerk  at  the  Ambassador  Hotel  in  Los  Angeles  because  of 
his  knowledge  of  four  languages.    He  worked  as  a  laborer 


Happened 

ARRY 


for    August  1930 


93 


"//  /  can't  make  pictures  in  Hollywood,  I  can  at 
least  make  Hollywood  streets,"  said  Barry.  "And 
they'll  be  good  streets,  too." 


Turning  Failure  into  Success — 
the  Story  of  Barry  Norton's 
Years  Between 


Because  Barry  knew  jour  languages,  he  worked  as 
clerk   at   the   Hotel   Ambassador   in   Los  Angeles. 
Shown  with  him  is  Rosita  Moreno. 


By  John  Godfrey 


in  the  streets  in  order  to  keep  going.  He  worked  at  the 
Harmon  Lumber  Company  for  $4  a  day. 

During  each  job  he  would  save  enough  cash  to  tide 
him  over  once  more  while  he  was  looking  for  work  at 
motion  picture  studios.  Each  time  he  was  refused  even 
entrance  to  the  studios.  He  tried  to  work  as  an  extra  in 
"Beau  Geste"  and  "The  Vanishing  American"  but  he 
wasn't  the  type.  One  of  his  handicaps  was  the  fact  that 
he  didn't  own  a  tuxedo. 

One  day,  with  his  last  dime,  he  bought  a  half  dozen 
doughnuts  and  made  them  last  for  three  days.  Finally, 
he  had  to  sell  his  best  suit.  He  made  the  money  go  a  long 
way  but  it  was  gradually  spent. 

When  he  had  no  money  in  his  pockets  and  hadn't 
eaten  for  two  days,  Barry  read  in  the  paper  that  laborers 
were  needed  by  a  real  estate  concern.  He  started  into 
the  building  where  the  office  was  located.  At  the  entrance 
to  the  elevator  he  collapsed,  unconscious.  When  an  am- 
bulance  was  waiting  and  he  was  about  to  be  taken  to 
the  hospital,  it  was  learned  that  all  he  needed  was  food. 
He  was  taken  to  a  cafe  and  fed  and  later  given  a  job 
as  Vegetable  boy.'  He  worked  for  two  months  in  the 
restaurant,  saved  his  money,  and  again  tried  for  work  in 
the  film  studios. 

This  time,  in  typical  Hollywood  fashion,  his  luck  sud- 
denly changed.  He  found  work  continually  as  an  extra. 
He  was  given  'bit'  parts,  the  lead  in  "The  Lily,"  and  a 
Fox  contract.  He  became  the  Mother's  Boy  in  Raoul 
Walsh's  "What  Price  Glory?" 

Barry  Norton  hasn't  said  so  but    (Continued  on  page  112) 


At    home    in    Hollywood,    with    a    contract  which 
enables  him  to  make  pictures  in  English,  French  and 
Spanish.    Good  work,  Barry. 


94 


SCREENLAND 


Dorothy  Mackaill,  in  her  attractive  kitchen, 
prepares  sandwiches  for  one  of  the  appetizing 
hot  weather   meals  in   which  she  specializes. 


NOW  that  summer  is  here,  our  thoughts  turn  to 
cool,  refreshing  menus,  and  if  dinner  can  be 
postponed  until  the  sun  goes  down  and  a 'cool 
breeze-  comes  up,  it  is  doubly  enjoyable. 
Dorothy  Mackaill  has  just  moved  into  a  house  at  Santa 
Monica.  After  living  five  years  in  an  apartment,  she  is 
delighted  with  having  trees,  a  lawn,  and  an  English  garden 
of  her  own,  the  latter  reminding  her,  she  says,  of  the  old 
home  in  Hull,  England,  in  which  she  lived  as  a  child. 

Since  it  is  still  daylight  when  she  returns  from  the 
studio,  Miss  Mackaill  delights  in  having  her  evening  meal 
in  this  garden.  The  house,  on  a  hill  in  the  outskirts  of 
the  beach  town,  has  a  wonderful  view  of  the  blue  Pacific. 
There  is  one  spot  that  has  a  particularly  beautiful  pano- 
rama of  the  coast  for  several  miles.  Here  a  bright- colored 
table  with  a  gay  beach  umbrella  over  it  is  set  up,  with 
chairs  to  match.  In  summer  she  uses  dishes  of  a  cool, 
clear  green;  goblets,  salad  and  dinner  plates  to  match. 
Sometimes  Miss  Mackaill  dines  alone.  Even  if  friends  or 
business  acquaintances  are  invited  to  an  informal  dinner, 
she  has  the  table  set  in  the  garden.  Formal  dinners  are 
served  in  the  large  English  dining  room. 

Dorothy  Mackaill  is  not  an  extraordinary  cook.  A 
career  has  occupied  almost  all  of  her  time  and  until  now 
she  has  lived  in  hotels,  and  apartments,  with  no  place  in 
which  to  practice  cooking.  Now,  however,  she  finds  time 
to  experiment  in  sandwiches,  salads,  and  light  desserts. 

If  the  day's  work  at  the  studio  is  over  early,  she  some- 
times fixes  her  own  hot  weather  evening  meal.  She  likes 
to  work  and  fuss  around  in  the  kitchen  under  her  mother's 
expert  guidance. 

A  favorite  menu,  that  her  mother  often  plans  for  her 
on  warm  evenings,  consists  of  chilled  shrimp  cocktail,  cold 
consomme,  avocado  and  tomato  salad,  broiled  lamb  chops, 
new  peas  and  new  potatoes  creamed  together,  and  maca- 
roon bisque. 


5UMMER 


DOROTHY  MACKAILL' S 


Shrimp  Cocktail 

Mix  one  cup  of  mayonnaise  and  one' 
half  cup  whipped  cream  together.  Add 
one-half  teaspoon  vinegar,  one-half  tea- 
spoon tobasco  sauce  and  one  teaspoon  cat' 
sup.  Add  one  can  shrimps,  or  the  same 
proportion  of  fresh  boiled  shrimps,  cut  in 
small  pieces.  Add  the  juice  of  one  lemon. 
Mix  ingredients  well  together,  and  place 
in  ice  box.     Serve  cold,  in  tall  glasses. 


Avocado  and  Tomato  Salad 

For  four  people,  one  good-sized  avocado 
and  three  large  tomatoes  will  be  needed. 
Put  two  large  lettuce  leaves  on  each  salad 
plate.  Slice  tomatoes  over  them,  then 
a  layer  of  sliced  avocados.  Mayonnaise 
or  French  dressing  may  be  served,  but 
real  connoisseurs  prefer  this  salad  without 
dressing  of  any  kind,  or  with  pure  olive 
oil  and  a  sprinkling  of  salt. 


"Being  English  and  raised  with  the  idea  of  a  late 
supper,  I  have  never  been  able  to  get  away  from  it, 
although  I  know  I  should,"  says  Dorothy.  "Sandwiches 
make  a  good  central  dish.  Using  that  as  the  main  course, 
it  is  easy  to  add  olives,  celery,  radishes,  little  green  onions, 
and  a  dessert  and  have  a  good  meal  that  is  not  too  heavy. 
In  warm  weather,  a  good  fruit  punch  and  a  light  dessert 
like  fresh  strawberry  sherbet  make  good  finishing  touches. 

"In  this  age  of  electric  refrigerators,  it  is  easy  to  have 
cold  punch  that  has  not  been  thinned  out  with  ice.  And 
freezing  sherbet  is  no  task  at  all,  if  you  remember  that 
sweet  things  are  harder  to  get  to  a  solid  point  than  tart 
ones.    Personally,  I  like  my  ices  tart  and  solid. 

"It  is  a  known  fact  that  people  need  less  food  in  sum- 
mer than  in  the  colder  months.  I  know  that  I  feel  much 
better,  and  notice  the  heat  less  if  I  restrict  myself  to  light 
nourishing  foods. 

"As  soon  as  it  gets  hot,  I  start  on  a  fruit  and  vegetable 
diet,  with  cold  meat  at  noon  and  some  kind  of  a  broiled 
and  baked  dish  in  the  evening.  I  usually  have  either 
orange  juice  or  grapefruit  without  sugar  for  breakfast. 
This,  and  a  couple  of  slices  of  melba  toast  and  coffee,  fit 
me  for  the  day. 

"For  lunch,  I  have  tea,  perfection  fruit  salad  on  plenty 
of  lettuce,  cold  baked  ham,  and  custard  pudding.  Some- 
times, if  I  know  we  are  going  to  work  late  on  the  set, 
I  have  tea  in  the  afternoon.  This  is  just  sliced  oranges, 
cinnamon  toast,  and  orange  pekoe  or  black  tea. 

"With  these  simple  meals,  a  great  deal  of  their  appeal 


for    August    19  30 


95 


T^ECIPES 

FAVORITE  RECIPES 


Cold  Consomme 

Boil  one  potato  cut  in  small  cubes,  one 
small  onion  chopped  fine,  three  carrots 
cut  in  slices  and  two  tomatoes  cut  in  small 
pieces  with  one  and  one-half  pints  of  good 
stock  made  from  beef  or  veal.  When 
vegetables  are  tender,  take  from  stove  and 
strain.  Put  stock  in  bowl  and  let  cool. 
When  cold,  skim  and  place  in  refrigerator. 
Serve  very  cold. 


Fruit  Sherbet 

Mash  one  quart  berries  or  their  equivalent 
in  fresh  peaches.  Add  two  cups  sugar, 
one  and  one-half  cups  water  and  the 
juice  of  one  lemon.  Let  stand  about 
one-half  hour.  Dissolve  two  tablespoons 
gelatine  in  boiling  water.  When  dis- 
solved, add  to  the  fruit  mixture.  Put  in 
electric  refrigerator.  Allow  plenty  of 
time  for  freezing,  about  four  hours  will  do. 


is  in  the  flavoring  and  the  care  given  to  their  prepara- 
tion. If  the  salad,  meat,  or  dessert  is  to  be  cold,  have  it 
cold,  not  luke-warm,  or  just  chilled. 

"As  to  the  flavoring  and  seasoning,  be  sure  to  put  in 
enough  salt  and  pepper  or  other  spice  called  for.  Many 
a  salad  or  vegetable  has  been  spoiled  by  the  lack  of  a  little 
salt.  Do  not  be  afraid  to  taste  things.  That  is  the  only 
way  you  can  tell  whether  things  are  right  or  not. 

"A  cool  and  pleasing  appearance  of  the  food  often 
tempts  back  the  appetite  lost  through  heat.  Lettuce  that 
is  crisp  and  fresh  on  a  plate  gives  an  air  of  coolness.  I 
know  that  often  I  will  start  eating  a  piece  of  lettuce  and 
continue  through  the  whole  salad,  just  because  the  lettuce 
looks  appetizing.  Olives,  celery,  cucumbers,  radishes, 
other  fresh  raw  vegetables  served  with  chipped  ice  are 
attractive  to  the  eye  as  well  as  palatable. 

"Hot  or  cold  beverages  are  a  matter  of  taste.  Some 
people  firmly  believe  that  a  hot  drink  makes  one  feel 
cooler,  while  others  prefer  iced  tea,  coffee,  or  a  fruit 
drink.  A  great  deal  of  the  keeping  cool  process  is  mental 
anyway,  so  do  as  you  wish.  However,  one  suggestion 
here,  a  tart  lemonade  is  twice  as  effective  as  a  sweet  one. 
The  less  sugar  used,  the  better  and  more  cooling  it  is. 
For  the  extremely  hot  weather,  a  bowl  of  potato  salad, 
cold  baked  ham,  and  fruit  sherbet  give  you  all  the  neces- 
sary food  values,  and  there  is  no  danger  of  over-eating. 
Of  course,  Fm  speaking  of  my  way  of  making  potato 
salad,  with  plenty  of  vegetables  besides  potatoes. 

"I  am  listing  some  of  my        (Continued  on  page  108) 


Cool,  Appetizing 
Meals  Served  in  an  English 
Garden  with  Dorothy  Mackaill 
as  Hostess  ...  By  Emily  Kirk 


All  ready  to  serve.    A  plate  of  those  delicious 
avocado  sandwiches  and  one  of  the  refreshing 
salads  Dorothy  describes  in  these  pages. 


96 


SCREENLAND 


The 

Stage . . 


in 


Review 


By 


De  Casseres 


E 


"Romeo  and  Juliet" 

va  LeGallienne  went  Shakespeare  and  topped  her 
season  at  the  Civic  Repertory  with  the  best  pre 
duction  of  "Romeo  and  Juliet"  that  I  have  ever 


seen. 


It  was  played  vitally.  It  moved  swiftly  from  the  begin- 
ning. It  was  understandable  to  the  dullest  mind  not  soaked 
in  the  beauties  of  Shakespeare's  English.  In  a  word,  it 
was  a  human  "Romeo  and  Juliet"  played  down-stage  and 
not  up  in  Valhalla  or  Nibelheim. 

Eva  LeGallienne  in  taking  over  the  role  of  Juliet  tried 
something  that  was  the  last  thing  I  ever  expected  her  to 
do.  But  she  did  it  remarkably 
well.  She  dramatized  Juliet  in- 
stead of  sentimentalizing  her.  She 
put  vim  and  individuality  and  fire 
into  this  girl  and  lifted  her  out 
of  the  caramel  sundae  class  of 
Young  Things. 

J.  Edward  Bromberg  gave  a  gor- 
geous performance  of  that  beloved 
swashbuckler,  Mercutio — also,  the 
best  Mercutio  I  have  ever  seen. 
Leone  Roberts  made  us  laugh  as 
the  7\[urse — real  laughs.  The 
Romeo  of  Donald  Cameron  was 
too  matineeish  for  my  fancy. 
Scenically,  the  performance  was 
also  fine. 

(Why  doesn't  some  one  do  this 
version  of  the  great  love-story  into 
a  talkie?) 

"Three  Little  Girls" 

This  musical  comedy  by  Messrs. 
Feiner  and  Hardt-Warren  and  a 
collaborating  staff  of  more  persons 
than  Screenland  can  spare  the 
space  to  record  for  posterity,  is 
one  of  those  lulling,  dreamy, 
ancient,  sentimental,  often  be- 
witching, down- through-three-gen- 
erations sort  of  thing,  with  Vien- 
nese music  culled  and  made  over 
from  our  old  friends,  Offenbach, 
Strauss,  Lehar,  et  Cie. 

Love,  of  course  (would  you  be- 
lieve it,  Hedda?),  is  the  kernel  of 
the  theme.  This  love-game  begins 
in  1846  and  runs  all  the  way 
down  to  1890  and  tells  the  same 
story    over    three    times  —  from 


Maurice  Goldberg 


Harriet  Hoctor,  premier  danseuse 
of  "Simple  Simon,"  in  one  of  her 
exquisite  numbers. 


grandpa  and  granny  down  to  the  grandchildren,  where, 
the  stars  being  more  propitious  in  1890  than  before,  all 
ends  well  in  the  best  of  all  Shubert  universes. 

The  Shining  Lights  in  this  revolving-stage  entertain- 
ment are  Natalie  Hall,  Raymond  Walburn  and  John  Golds- 
worthy.  If  you  are  not  too  seriously  inclined  in  these 
hot  days,  "Three  Little  Girls"  is  your  dish  of  watercress 
and  angel-cake. 

"The  Vikings" 

Ibsen  is  a  great  name  to  conjure  with  in  the  higher 
realms  of  dramatic  art,  but  it  sometimes  happens  the  amulet 
doesn't  work.    Magic  has  its  off-days. 

The  Blanche  Yurka-Richard 
Herndon  production  of  Ibsen's 
"The  Vikings"  failed  to  register 
on  me  as  it  should.  Simply  be- 
cause it  is  not  Ibsen.  This  play 
was  written  when  he  was  very 
young;  and  while  it  is  vigorous — 
even  howling — and  holds  in  germ 
many  ideas  and  motives  that  later 
came  to  maturity  in  his  other 
work,  it  can  by  no  stretch  of  the 
imagination  be  set  down  as  an 
Ibsen  drama. 

Miss  Yurka  as  Hjordis,  a  some- 
what Brunnhilde-like  being,  was 
plainly  not  at  her  best.  Miss 
Yurka  is  such  an  accomplished 
mistress  of  her  art  that  she  can 
do  nothing  badly.  So  her  per- 
formance, was  at  most,  interesting. 

"The  Vikings"  would  make  a 
fine  opera  for  some  new  Wagner. 
Mr.  Wilfred's  Clavilux  was  on 
view,  throwing  lights  hither  and 
thither;  but  it  takes  more  than 
that  to  infuse  life  into  this  out- 
moded drama  of  beards  and  furs 
and  breathless  messengers.  Our 
tastes  in  hokum  have  changed. 

"Ada  Beats  the  Drum" 

There's  quite  a  passion  for  ex- 
posing Americans.  And  it's  high 
time — no  people  need  a  blowing 
up  like  we  do.  But  woe  to  him 
who  does  it  seriously! — he'll  get 
a  bread-knife  in  his  back.  So  we 
must  do  it  laughingly. 

In  "Ada  Beats  the  Drum,""  by 
John  Kirkpatrick,  it  is  plainly  over- 


for    August    19  30 


97 


Eva  LeGallienne  went 
Shakespeare  and  topped 
her  season  with  a  splen- 
did performance  of 
"Romeo  and  Juliet." 
From  left  to  right: 
Leone  Roberts  as  the 
Nurse,  Eva  LeGallienne 
as  Juliet  and  Donald 
Cameron  as  Romeo,  in 
a  scene  from  the  beau- 
tifully staged  production. 


done.  The  laughter  becomes  a  haw!-haw!  and  the  brain- 
tickle  that  should  be  there  becomes  a  goatish  giggle. 

Here  are  a  bunch  of  Babbittized  papoose  brains  from 
the  Middle  West  (apparently)  who  go  to  Southwest 
France  to  gimlet  Continental  Culture  into  the  brain  of 
little  Leila  Hubbard.  Ma  Hubbard  is  strong  for  Europe, 
but  the  old  man  is  strictly  a  Coca-Cola  Yahoo  who  is  for 
returning  to  the  U.  S.  A.,  where  God's  on  his  throne  and 
all's  well  with  the  speakeasies. 

The  girl  (played  mock-merrily  by  that  odd  little  bit, 
Nydia  Westman)  prefers — being  a  daughter  of  her  dad — 
an  American  as  her  steady.  The  Ma  (Mary  Boland) 
wants  her  to  marry  a  Spanish  painter  with  Continental 
fallalls.  Many  things  happen — some  of  which  click  and 
most  of  which  thud  out.  The  author  has  beaten  the  drum 
of  his  theme  to  a  frazzle. 

"Lost  Sheep" 

Belford  Forrest's  comedy,  "Lost  Sheep,"  put  on  by 
George  Choos  and  Jack  Donahue,  knocked  us  all  cold. 

Here  is  a  screaming  idea — an  idea  that  would  have  hit 
Guy  De  Maupassant  straight  between  the  eyes.  But  Mr. 
Forrest  is  not  a  De  Maupassant  (who  is?).  Therefore, 
this  gorgeous  theme  is  not  treated  with  the  delicacy  and 
finesse  that  it  deserves.  There  are  empty  stretches,  holes 
where  the  playwright  is  obviously  casting  around  to  keep 
the  merriment  agog. 

There  is  a  house  of  evil  repute  on  a  suburban  London 
road.  The  madame  and  her  pleasure  pack  have  just  moved 
out  without  notifying  their  high-toned  trade.  Into  this 
'Ouse  of  Sin  moves  a  Methodist  minister,  his  wife  and 
his  three  little  girls. 

Well,  when  the  'phone  starts  to  ring  and  the  old  cus- 
tomers in  top  hats  start  to  arrive  for  the  evening's  de- 
bauch, you  can,  without  pulling  hard  on  your  imagination 
glands,  guess  the  contretemps,  the    (Continued  on  page  113) 


Natalie  and  Bettina  Hall,  two  of  the  "Three  Little 
Girls,"  in  the  musical  comedy  of  that  name. 


98 


SCREENLAND 


What  the  Film  Famous  are 
doing  on  and  of?  the  Set 


HOT  /; 


rom 


There  are  two  new  things  in  Clara  Bow's  life,  a 
hair  cut  and  a  boy  friend.   The  hair  cut  is  short 
and  close  to  her  head  and  the  boy  friend  is  Rex 
Bell.   The  much-discussed  friendship  with  Harry 
Richman  appears  to  be  a  thing  of  the  past.    Clara  and 
Rex  are  seen  together  everywhere,  and  seem  very  devoted. 
*  *  * 

Dolores  Del  Rio,  who  was  a  close  friend  of  Rudolph 
Valentino,  was  chosen  to  unveil  the  statue  placed  in  honor 
of  his  memory  in  De  Longpre  Park  at  De  Longpre  and 
Cherokee  Streets  on  the  late  star's  birthday  anniversary. 
Dolores  delivered  the  dedicatory  speech,  which  was  rec- 
orded by  sound  news  reels  in 
three  languages. 

The  statue  is  named  "Aspira- 
tion," modeled  by  Roger  Noble 
Burnham,  and  its  existence  was 
made  possible  by  the  thousands  of 
contributions  from  Valentino  ad- 
mirers which  have  come  from  all 
over  the  world.  The  inscription 
at  the  base  of  the  statue  offers 
this  information. 

George  Ullman,  head  of  the 
Rudolph  Valentino  Memorial 
Association,  still  receives  many 
letters  asking  questions  about 
Rudolph  which  shows  that  in- 
terest in  him  is  still  alive. 

It  seems  the  thing  for  wives  to 
give  their  husbands  sixteen-cylin- 


der  twin-eight  Cadillacs  on  their  birthday.  Frances  Marion 
whose  husband  is  George  Hill,  the  director,  was  one  of 
the  givers;  and  Joan  Crawford  presented  Doug  Fairbanks, 
Jr.  with  one  for  his  birthday. 

*  *  * 

Buddy  Rogers1  kid  brother,  Bh,  is  going  into  pictures. 
He  did  a  bit  in  "Follow  Thru"  and  now  has  signed  a 
contract  with  Paramount,  which  will  start  him  off  in  small 
parts  and  build  him  up.  Yes,  that's  really  his  name:  Try 
to  pronounce  it. 

*  *  * 

Clara  Blandick,  that  fine  character  actress,  plays  the 
rector's  aunt  in  "Romance"  star- 
ring Greta  Garbo.  It  was  Miss 
Blandick's  first  experience  with 
Greta,  and  hearing  of  her  tem- 
peramental ways  she  felt  rather 
nervous.  But  she  changed  her 
mind  once  she  met  her.  Greta 
really  is  a  sincere  artist  and 
works  very  hard.  She  is  terribly 
shy  and  nervous,  however,  and 
one  day  went  completely  up  in 
her  lines.  "Oh,  I  am  so  sorry, 
I  am  so  sorry,"  she  said  twisting 
her  fingers,  which  were  as  cold 
as  ice.  "I  am  so  nervous.  I 
wonder,  please,  could  we  not 


Left:  "love  me,  love  my  cat,"  says 
Alice  White.  That's  all  right  with 
us.  W e  always  did  like  A  lice,  and 
this  is  no  alley  cat.  He's  a  grand  cat! 


for   August  1930 


99 


Hollywood 


have  some  boards  put  up  around  the  set  and  have  them 
stay  that  way?"  There  was  no  one  on  the  stage  except 
those  actually  concerned  in  making  the  picture  and  when 
the  boards  were  put  up  as  she  requested,  the  only  ones 
who  could  see  her  were  the  director  and  the  cameramen. 
"And  she  wasn't  kidding,  either,"  said  Miss  Blandick.  "She 
was  really  terrified." 

Neither  does  Greta  care  for  social  contact,  unless  with 
a  few  friends  whom  she  likes  and  with  whom  she  feels 
at  ease.  The  usual  polite  social  whirl 
out  here  means  nothing  in  the  world 
to  this  girl. 

Recently  a  party  was  given  in 
honor  of  Lord  and  Lady  Mountbaton 
by  Marion  Davies  who  invited  Greta; 
but  Greta  refused.  It  was  to  be  a 
really  swanky  affair  and  Marion 
wanted  very  much  to  have  Greta 
attend.  She  told  Mary  Pickford  of 
her  failure  to  persuade  her.  "Oh, 
don't  you  worry,  I'll  arrange  that," 
said  Mary.  But  after  she  had  called 
about  nine  times  her  confidence  be- 
gan to  wane.  Finally  Greta  was 
persuaded  to  answer  the  phone  and 
the  invitation  was  repeated.  "Oh, 
but  you  see  I  am  so  sorry,"  said  the 


Right:    Cyril    Maude,    noted  English 
actor,  makes  his  talking  picture  debut 
in  "Grumpy"  in  which  he  appeared  on 
the  stage  more  than  1300  times. 


Swedish  girl  haltingly,  "I  feel  much  better  at  home  than 
in  society,  so  I  don't  think  I  go.    Thank  you  very  much." 
And  that,  as  the  saying  goes,  was  flatly  that. 

Hi  % 

And  here's  another  thing  that  concerns  Miss  Garbo. 

For  years,  Fred  Niblo  has  been  trying  to  interest  the 

financial  powers  at  Metro  in  a  story  by  Barney  Glazer 

on  the  Empress  Josephine.    Unlike  other  yarns  that  men' 

tion  Napoleon,  he  is  to  be,  in  this,  a  secondary  character. 

It  being  woman's  day  the  author  thinks  the  women  of 

history  should  have  their  due.  Now 

it  looks  as  though  the  deal  would  go 

through,  and  Greta  will  play  Joseph' 

ine  if  it  does. 

*       *  * 

Ronald  Colman  and  William 
Powell  had  planned  to  go  vagabond' 
ing  in  Honolulu  but  they  couldn't 
get  away  at  the  same  time.  Ronnie 
pulled  a  fast  one  even  on  the  studio 
and  boarded  the  Homeric  in  New 
York  harbor  bound  for  his  home 
town,  London,  on  the  day  before  the 
Goldwyn  studios  thought  he  would 
board  the  Chief  in  Los  Angeles  on 
his  way  to  New  York.  "Well,  I 
guess  Colman  really  doesn't  want  any 
publicity,"  said  a  newspaper  man 
new  to  our  town,  who  thought  the 
Colman    reticence    was    'all  bluff.' 


Above:  Lon  Chaney,  introduced  to  the  microphone  for  his  first 
scene   in    "The    Unholy    Three,"    looks    apprehensive.  Jack 
Conway,  director,  and  Lila  Lee,  leading  lady,  do  the  intro- 
ducing.   The  fourth  party?    We're  asking  you. 

Right:  The  elder  and  younger  generation  of  western  outlaw 
heroes.  William  S.  Hart  came  down  from  his  mountain  ranch 
to  visit  Johnny  Mack  Brown  on  the  set  of  "Billy,  the  Kid," 
King   Vidor's   film,  in   which  Johnny  plays   the  name  role. 


100 


Above:  Mitzi  Green  and  William  Austin  indulge  in 
a  good  old-fashioned  game  of  leap  frog  at  the  Para- 
mount studio   where   they   both   work.    Oh,  I  say, 
Austin,  old  bean,  rawther  tiring,  what? 


Dolores  Del  Rio,  unveiling  a  statue  placed  in  memory 
of  Rudolph  Valentino  in  De  Longpre  Park,  Holly- 
wood, on  the  late  star's   birthday  anniversary.  At 
the  right  is  Roger  Noble  Burnham,  the  sculptor. 


SCREENLAND 


Claudette  Colbert,  with  the  lovely  lady  who,  as  you 
may   guess,   is   her   mother.     When   you   see  this, 
Claudette,  with  her  husband,  Norman  Foster,  will  be 
on  that  'round  the  world  trip  on  a  freighter. 


Ronnie  is  on  his  way  to  visit  his  relatives  and  Bill  Powell 
will  join  him  in  London  as  soon  as  he  finishes  his  present 
picture  for  Paramount. 

*  *  * 

Those  around  Hollywood  who  have  been  smacking  their 
lips  in  anticipation  of  the  second  round  of  the  Gilbert' 
Tully  bout  are  doomed  to  disappointment,  because  these 
two  inflammable  personalities  who  have  been  at  loggerheads 
for  two  years  are  now  good  friends.  The  trouble  was  all 
about  an  article  about  Jack  by  Jim,  over  which  there  was 
a  grand  row.  Finally,  their  friends  succeeded  in  making 
peace  between  them.  Then  Jim  was  put  on  dialogue  for 
'Trader  Horn"  and  met  Jack  on  the  lot  several  times. 
And  next  thing  anyone  knew  it  was  announced  that  Jim 
was  to  play  a  part  in  Jack's  next  picture,  "Way  for  a 
Sailor."  They  even  had  their  photographs  taken  together 
one  day  when  Jim  was  at  Jack's  place  in  Beverly  Hills, 
the  first  Jack  had  had  taken  since  his  European  trip.  It 
looks  like  the  beginning  of  a  very  strong  and  lasting 
friendship. 

*  *  * 

And  Jack  and  Ina?  Well,  they're  good  friends,  too. 
There's  nothing  to  surmise  or  conjecture  about  so  far  as 
they  are  concerned  for  they  have  every  intention  of  just 
staying  together.  Ina  is  back  from  New  York  where  she 
went  on  business  and  turned  down  one  or  two  very 
attractive  offers  to  star  in  stage  plays.  "Why  should  I 
stay  in  New  York  when  my  husband  has  to  remain  in 
California  and  we  love  each  other?"  Ina  is  reported  to 
have  said  in  answer  to  those  people  who  don't  like  to 
see  her  cut  her  brilliant  career  in  two,  even  to  be  the  wife 
of  Jack  Gilbert.  But  Ina  isn't  worrying  about  that.  She 
has  won  great  success  and  knows  that  she  could  go  out 
any  day  and  repeat  it  if  she  wanted  to.  Just  now  she  b 
content  to  let  things  rest  as  they  are.  There's  plenty  of 
time  ahead  for  careering. 

*  *  * 

Fans  of  Helen  Twelvetrees  will  rejoice  when  they  sec 


for    August    19  30 


Zake  Taylor  tags  Laura  Lee  out  during  practise  at 
Wrigley  Field.  Roger  Hornsby,  star  second  baseman, 
stands  by.  The  Chicago  cubs  paid  a  visit  to  the  "Top 
Speed"  set  to  see  Laura  at  work. 


"Swing  High"  to  realize,  that  their  idol  is  not  a 
lisper.  The  first  talkie  picture  of  this  captivating 
actress  presented  her  as  the  lisping  girl  in  "The 
Ghost  Talks"  and  she  was  the  recipient  of  many 
letters  of  sympathy  for  her  impediment  in  speech! 

*  #  * 

There  was  quite  a  flurry  in  Hollywood  when 
Bebe  Daniels  announced  her  engagement  to  Ben 
Lyon,  followed  shortly  by  wedding  invitations. 
Because  it  was  the  first  time  either  of  them  had 
been  married  it  was  suggested  to  Bebe  that  she 
take  over  the  Hollywood  Bowl  for  her  wedding 
so  that  all  her  friends  could  attend.  But  Bebe 
and  Ben  preferred  to  have  a  quiet  wedding  and  a 
big  reception  afterward. 

Mrs.  Harry  Martin  (Louella  Parsons)  was 
matron  of  honor.  Among  the  bridesmaids  were 
Marion  Davies,  Lila  Lee,  Betty  Compson,  Marie 
Mosquini,  who  has  been  Bebe's  friend  since  they 
were  nine  years  old,  Diana  Kane  Fitzmaurice, 
Constance  Talmadge. 

Ben  Lyon  chose  Hal  Howe  to  be  his  best  man 
and  the  ushers  were  Henry  Hobart,  George  Fitz- 
maurice, Sam  Hardy,  Frank  Joyce,  Howard 
Hughes,  Skeet  Gallagher,  Wallace  Davis  and  Dr. 
Harry  Martin. 

There  could  be  only  a  short  honeymoon  because 
both  Ben  and  Bebe  had  working  schedules  to 
think  of;  but  as  soon  as  they  can,  they  will  be 
off  to  Europe  for  a  real  honeymoon. 

The  seriousness  of  this  romance  between  Bebe 
and  Ben  was  a  surprise  to  Hollywood.  Both  are 
so  popular  and  have  been  reported  engaged  so 
many  times  that  it  just  looked  like  another  trans- 
itory friendship;  but  this  turned  out  to  be  the 
real  thing. 

*  *  * 

Reginald  Denny,  looking  very  stunning  in  his 
costume  for  the  bal  masque,  an  ultra  gorgeous 


101 


Above:  A  peace  pact.    Jim  Tully  and  Jack  Gilbert 
make   up   and  are   now   the  best  of  pals.    Jim  is 
scheduled    to    play    a   part    in   Jack's    next  picture, 
"W ay  for  a  Sailor." 

With  three  generations  of  the  Warner  family  present,  the 
tallest  peak  in  Hollywood  mountains  is  christened  "Mount 
Warner."    Right,   Benjamin    Warner,   father   of   the  three 
Warner  brothers,  with  J.  L.  Warner  and  Jack,  Jr. 


102 


SCREENLAND 


scene  which  Cecil  De  Mille  put  on  in  "Madame  Satan" 
apparently  did  not  feel  as  fine  as  he  looked,  for  his  fore- 
head wore  a  thoughtful  frown. 

"Well,  I'm  not  superstitious,"  Reg  said,  explaining  it, 
"but  Fm  wearing  a  wig  of  Rudy  Valentino's  and  I  do  feel 
curious." 

*  *  * 

Going  back  to  weddings — it  is  probable  that  before  this 
is  printed  Sally  Eilers  and  Hoot  Gibson  will  have  followed 
the  example  of  Ben  and  Bebe.  Last  winter,  Sally,  Hoot 
and  a  party  of  friends  were  snowbound  for  ten  days  in 
Hoot's  mountain  cabin.  The  second  morning  after  they 
arrived  they  looked  out  upon  a  snow-fast  world.  They 
started  on  horseback  for  provisions;  but  the  horses,  after 
wallowing  desperately  in  shoulder-deep  snow  for  three  hours, 
decided  to  go  to  sleep.  So  did  Sally.  This  meant  they  were 
freezing  to  death  and  the  rest  of  the  party,  realizing  the 
danger,  shook  off  the  lethargy  that  had  begun  to  envelop 
them,  too,  and  started  beating  up  both  Sally  and  the  horses. 
Fortunately,  enough  food  had  been  stored  in  the  house  so 
they  didn't  starve,  but  the  fare  wasn't  as  sumptuous  as  it 
normally  would  have  been. 

"Ten  people  under  one  roof  for  that  many  days  is  a  good 
test  of  friendship,"  said 
Sally.  "After  it  was  all 
over  I  still  liked  Hoot  and 
we  both  thought  that  if  we 
could  stand  that  test  we  must 
be  really  congenial.'' 

Fred  Niblo  is  the  'sound 
effects'  in  the  dance-hall 
scene  of  "Easy  Going,"  star- 


Below:  Jeanette  MacDonald, 
who  enacts  a  lovely  countess 
in  "Monte  Carlo,"  Ernest 
Lubitsch's  new  production, 
listens  to  the  wax  recording 
of  the  song  she  has  just 
made.  Jack  Buchanan  sup- 
plies the  male  interest. 


Above:  "Girl  of  the 
Golden  West"  company 
on  location.  Ann  Hard- 
ing's maid  gives  her  per- 
sonal attention,  while  the 
handy  make-up  man  at- 
tends to  James  Rennie, 
leading  man. 

Charles  Chaplin  and 
company  on  location  for 
"City  Lights,"  Chaplin's 
latest  picture.  Douglas 
Fairbanks,  Charlie's  best 
pal,  is  present,  grin  and 
all,  just  looking  on. 


ring  Bill  Haines.  He  does 
not  appear  nor  does 
he  get  screen  credit  but 
it  is  his  voice  which  yells, 

"Hot  dogs!    Popcorn!    Hot  dogs!" 

*  *  * 

Because  of  the  way  audiences  received  John  Barrymore's 
rendition  of  Shakespeare's  "Richard  III,"  in  "Show  of 
Shows,"  Warner  Brothers  will  present  him  in  a  picturiza- 
tion  of  "Hamlet,"  which  was  one  of  Barrymore's  most 
interesting  stage  roles.  And  the  beautiful  Dolores  may  play 
Ophelia,  though  this  has  not  been  even  rumored  as  yet.  It 
has  been  said  that  these  two  will  appear  in  "Trilby,"  Jack 
playing  Svengali  and  Dolores  the  ill-fated  Trilby.  "Hamlet" 
is  scheduled  as  a  special,  to  be  made  after  Mr.  and  Mrs. 
Barrymore  and  their  baby  daughter  Dolores  Ethel  have  had 
a  cruise  on  their  yacht,  The  Infanta. 

*  *  * 

We  dropped  in  on  Sylvia,  the  Swedish  masseuse,  at  the 
Pathe  studio  and  found  Madge  Kennedy  being  pummeled. 
Madge  was  singing  lustily.  After  the  first  stanza  she  said, 
"Sylvia,  I  don't  know  whether  you  like  this  or  not  but  I 
have  to  sing  to  take  my  mind  off  what  you  are  doing.  You 
nearly  murder  me,  but  just  the  same  you're  wonderful." 

When  Madge  first  met  Sylvia,  the  diminutive  Dane  gave 
the  actress  a  critical  glance  and  said,  "You  look  too  digni- 
fied. Cut  your  hair  off."  This  was  just  what  Madge's 
friends  had  been  trying  to  persuade  her  to  do  for  years  but 
it  took  Sylvia  to  turn  the  trick.  Next  time  Madge  appeared 
she  wore  the  most  adorable  bob  you  ever  saw. 


for    August  1930 


103 


Smooth  Skin  a  Girl  s  most  Appealing  Charm, 
say  45  Hollywood  Directors 

Hollywood  •  Broadway  •  European  Stars  •  9  out  of  10  use  Lux  Toilet  Soap 


Lois  Moran,  charmingFox  star, 
says:  "Lux  Toilet  Soap  leaves 
my  skin  marvelously  smooth" 


Fay  Wray,  delightful  Para- 
mount star:  "It  helps  give  the 
skin  a  wonderful  smoothness." 


CHARMING  SKIN- 
smooth  and  clear  and 
soft!  The  girl  who  has  it 
attracts  people  wherever 
she  goes. 

"People  love  the  beauty 
of  smooth  skin,"  says 
Mervyn  Le  Roy,  First  National's  famous 
motion  picture  director.  Like  44  other 
leading  directors  he  has  found  this  out 
from  long  experience  in  choosing  girls 
who  will  most  surely  touch  the  hearts  of 
millions  of  people. 

"To  a  screen  star,"  he  goes  on  to  say, 
"a  flawlessly  smooth  skin  is  a  supreme 
necessity.  No  art  of  the  make-up  man 
can  simulate  skin  beauty  under  the  merci- 
less test  of  the  close-up." 

And  lovely  skin  must  have  the  most  in- 


Madge  Bellamy,  ever  so  popu- 
lar a  star,  says:  "Lux  Toilet  Soap 
leaves  the  skin  smooth  as  a  petal. " 


l'hoto  by    H.  D.  Carsey 

Billie  Dove,  First  National's  appealingly  lovely  star,  in  the  luxurious  bath- 
room built  for  her  in  Hollywood.  "A  smooth  skin  is  most  important  to  every  girl 
whether  or  not  she  is  a  motion  picture  star.  I  use  Lux  Toilet  Soap  and  find  it 
delightfully  pure  and  refreshing." 


teiligent  care.  The  charming  Hollywood 
screen  stars  long  ago  found  out  that  Lux 
Toilet  Soap  keeps  the  skin  exquisite. 

Qf  the  521  important  actresses  in  Holly- 
wood, including  all  stars,  511  use  this 
delicate  soap — and  every  one  of  the  great 
motion  picture  studios  has  made  it  the 
official  soap  for  their  dressing  rooms. 

THE  Broadway  stars,  too,  have  long 
been  enthusiastic  about  Lux  Toilet 
Soap — so  daintily  fragrant  and  white. 


Doris  Kenyon,  attractiveyoung 
star:  "Lux  Toilet  Soap  gives  my 
skin  such  lovely  smoothness." 


And  now,  in  the  capitals 
of  Europe,  too,  the  beauti- 
ful screen  stars  have 
adopted  it. 

Never  were  the  lovely 
actresses  more  apprecia- 
tive of  Lux  Toilet  Soap 
than  since  talking  and  singing  pictures 
have  become  so  popular.  There  are  more 
close-ups  than  ever  in  the  talkies — and 
every  close-up  demands  a  practically 
perfect  skin  if  a  star  is  to  hold  the  pub- 
lic heart. 

If  you  aren't  one  of  the  millions  of 
women  who  are  using  Lux  Toilet  Soap, 
you'll  be  delighted  to  find  how  smooth 
and  soft  it  keeps  your  skin.  Its  caressing 
lather  is  instant — even  in  hard  water. 
Order  several  cakes — today. 


Lux  Toilet  Soap 


Luxury  such  as  you  have  fotina1  only  in  fine  French 

soaps  at  $0$  and  $1.00  the  ca\e  .  .  NOW 


10 


104 


SCREENLAND 


Ask 


Winnie  from  Buc\eye  State. 
No,  I  couldn't  say  that 
Yan\ee  Doodle  was  the  theme 
song  for  the  American  Revolu- 
tion but  after  going  to  some  of  the  talkies,  I 
have  about  decided  the  old-fashioned  movies 
were  too  good  for  words.  Madge  Bellamy 
was  born  in  Hillsboro,  Texas.  She  is  a 
free-lance  player  but  you  can  write  her 
at  519  No.  Beverly  Drive,  Hollywood,  Cal. 
Jackie   Coogan  was  born  Oct.   26,  1914. 

Aretas  of  Columbus,  Ohio.  Ivan  Lebe- 
deff  was  born  June  18,  1899,  in  Uspoliai, 
Lithuania.  He  has  black  hair  and  eyes,  is 
6  feet  1  inch  tall  and  weighs  148  pounds. 
He  was  on  the  stage  in  Russia  and  appeared 
in  pictures  in  France  and  Germany  before 
coming  to  the  United  States.  He  played 
in  "Street  Girl,"  all-talking  film  with  Betty 
Compson,  Jack  Oakie,  John  Harron  and 
Ned  Sparks.  Ivan  is  now  working  in 
"Radio  Revels"  at  the  RKO  Studios,  780 
Gower  St.,  Hollywood,  Cal. 

Buddy's  Fan  from  St.  Louis,  Mo.  No 
issue  complete  without  the  usual  inform- 
ation about  Charles  .  Rogers — shows  you 
can't  keep  a  good  kid  down  and  who  wants 
to?  Buddy  was  24  years  old  on  his  last 
birthday,  Aug.  13,  1929.  His  father  and 
mother  are  living  and  he  has  two  sisters 
and  a  brother.  He  was  one  of  the  16 
pupils  of  the  Paramount  School.  His  latest 
picture  is  "Follow  Thru,"  with  Nancy 
Carroll.  Mary  Kornman  and  Johnny  Downs 
have  outgrown  "Our  Gang."  Jean  Dar- 
ling is  the  Gang's  leading  lady  since  Mary 
grew  up. 

Margaret  T.  from  K[.  T.  City.  I'm  not 
an  electrician's  daughter  but  I  know  watts- 
watt  about  Vondell  Darr.  She  was  born 
April  18,  1919,  in  Los  Angeles,  Cal.  She 
is  52  inches  tall,  weighs  54  pounds  and 
has  blonde  hair  and  blue  eyes.     She  has 


appeared  on  the  screen  in  "On  Trial,"  "The 
Dummy,"  "The  Pony  Express,"  'The  City 
That  Never  Sleeps,"  and  "Feet  of  Clay." 

Phoebe  S.  of  Woodbury,  N..  J.  You 
like  my  name,  do  you?  I  think  it's  pretty 
good  myself — that's  why  I've  never  changed 
it.  I  could  go  on  forever  telling  you  of 
the  brothers  and  sisters  on  the  screen  but 
here  are  some  of  them:  Dolores  and  Helene 
Costello,  Mary  and  Jack  Pickford,  Lillian 
and  Dorothy  Gish,  Norma  and  Constance 
Talmadge,  Sally  O'Neil  and  Molly  O'Day, 
Viola  Dana  and  Shirley  Mason,  Alberta 
and  Adamae  Vaughn,  Charles  and  Syd 
Chaplin.  But  Will  Rogers  and  Charles 
(Buddy)  Rogers  are  not  brothers,  not  even 
father  and  son.    Will's  sons  are  just  kids. 

Buddy  O.  from  Milwaukee.  Sorry  not 
to  announce  your  fan  club  but  we  discon- 
tinued mention  of  fan  clubs  in  Screenland 
some  time  ago.  Gilbert  Roland's  latest 
picture  is  "New  York  Nights"  with  Norma 
Talmadge.  Is  Grant  Withers  getting  good 
breaks?  I'll  tell  you  he  is.  Hasn't  he  just 
grabbed  off  a  swell  girl,  Loretta  Young, 
for  better  or  worse?  Rex  Lease  appears 
in  "Troopers  Three"  with  Dorothy  Gulliver. 
Write  him  at  Tiffany  Productions,  4516 
Sunset  Blvd.,  Hollywood,  Cal. 


Miss  Vee  Dee  will  be  glad  to 
answer  any  questions  you  may 
care  to  ask  about  pictures  and 
picture  people.  If  you  wish  an 
answer  in  the  Magazine,  please 
be  patient  and  await  your  turn; 
but  if  you  prefer  a  personal 
reply,  please  enclose  a  stamped 
addressed  envelope.  Address: 
Miss  Vee  Dee,  Screenland 
Magazine,  45  West  45th  Street, 
New  York  City. 


By 

Miss  Vee  Dee 


Snowshoes  from  Vancouver,  B.  C.  Do 
I  follow  you?  It's  a  pleasure.  Nancy  Carroll 
has  a  four-year-old  daughter,  Patricia  Kirk- 
land.  Sue  Carol  and  Nancy  Carroll  are 
not  related.  Nancy  was  born  November 
19,  1906,  in  New  York  City.  The  neighbor- 
hood knew  her  as  Nancy  La  Hiff  but  when 
Broadway  began  to  sit  up  and  notice  the 
beautiful  red-haired  girl,  she  became  Nancy 
Carroll.  She  has  blue  eyes,  is  5  feet  4 
inches  tall  and  weighs  119  pounds.  She 
gets  her  fan  mail  at  Paramount  Studios, 
5451  Marathon  St.,  Hollywood,  Cal.  Gary 
Cooper's  hair  is  brown  and  not  red,  as 
you  have  been  told.  Come  again  and  often. 
Many  thanks  for  your  praise. 

An  Indian  Girl  from  Biloxi,  Miss.  You 
like  all  the  handsome  male  stars  but  Richard 
Dix  has  the  only  spot  in  your  heart — 
how  about  that  Richard?  He  was  born 
July  18,  1894,  in  St.  Paul,  Minn.  He  is 
6  feet  tall,  weighs  165  pounds  and  has 
brown  hair  and  eyes.  His  new  picture 
will  be  "Cimaron,"  from  Edna  Ferber's 
novel.  You  can  write  Dix  at  RKO  Studios, 
780  Gower  St.,  Hollywood,  Cal. 

Mrs.  M.  R.  from  Columbus.  I  can  call 
you  a  fan  from  Georgia  or  anything  I  like, 
can  I?  All  right,  fellow-fan.  Richard 
Barthelmess  has  made  several  pictures  since 
"Out  of  the  Ruins."  "Scarlet  Seas,"  fol- 
lowed by  his  first  talkie,  "Weary  River," 
"Drag,"  "Young  Nowheres,"  "Son  of  the 
Gods"  and  his  newest  one,  "The  Dawn 
Patrol."  You  can  write  Richard  at  First 
National  Studios,  Burbank,  Cal.  Marian 
Nixon  appears  in  "Courage,"  with  Belle 
Bennett  and  Rex  Bell  for  Warner  Brothers. 

Bobbie  from  Dayton,  Ohio.  Of  course 
my  "Ask  Me"  department  is  great.  With 
gentle  guidance  and  synchronized  control, 
you  fans  have  made  these  lines  what  they 
are  today.  So  there  you  are,  and  every 
(Continued  on  page  127) 


for    August  1930 


105 


It  Gives  Your  Teeth 
A  Double  Cleansing! 

Colgate's  penetrating  foam  sweeps  into  tiny  crevices,  washing  out  decaying 
particles  as  well  as  polishing  the  surfaces. . .  thus  cleansing  teeth  completely. 

IT  is  easy  to  fool  yourself 
that  you  have  really 
cleaned  your  teeth,  after 
vigorously  scrubbing  the 
outer  surfaces  until  they 
sparkle. 

But  unless  you  use  a  denti- 
frice like  Colgate's,  whose 
active  foam  penetrates  the 
spaces  between  teeth,  and 
the  tiny  fissures  where  food 
particles  collect,  and  washes  out  these  hard-to- 
clean  places,  you  haven't  done  a  complete  job 
of  cleansing.  Your  teeth,  though  pearly  white, 
are  only  half  clean  ! 

Not  all  dentifrices  are  able  to  clean  these  crev- 
ices equally  well.  Scientific  tests  prove  that 
Colgate's  has  the  highest  penetrating  power 
of  any  leading  toothpaste  .  .  .  hence,  Colgate's 
cleans  best.  Its  lively,  bubbling  foam  creates 
a  remarkable  property  which  enables  it  to 
penetrate  into  tiny  spaces,  softening  the  im- 
purities and  literally  flooding  them  away  in  a 
wave  of  cleanliness. 

Thus  Colgate's  cleanses  the  teeth  completely 
.  .  .  washing  out  the  crevices  as  well  as  polish- 
ing the  surfaces  brilliantly.  Why  not  give  your 
teeth  this  double  protection  ? 

Colgate's  is  the  largest  selling  toothpaste  in 
the  world  today.  More  dentists  recommend 
it  than  any  other. 

If  youpreferpowder,  ask  for  Colgate's  Dental  Powder. .  .it 
has  the  same  high  cleansingabilityas  Ribbon  Dental  Cream. 


How  Colgate's  Cleans  Crevices 
Where  Tooth  Decay  May  Start 


Diagram  showing: 
tiny  space  between 
teeth.  Note  how 
ordinary,  sluggish 
toothpaste  (having; 
"high  Surface-Ten- 
sion") fails  to  pene- 
trate deep  down 


This  diagram  shows 
how  Colgate's  active 
foam  (having  "low 
surface-tension"  \ 
penetrates  deep 
down  into  the  crev- 
ices, cleansing  them 
completely  whera 
the  toothbrush  can- 
not reach. 


PR  J?  J?    COLGATE,  Dept.  M-910.  P.  O.  Box  375,  Grand  Central  Post 
Office,  New  York  City.  Please  send  me  a  free  tube  of  Colgate's 
Ribbon  Dental  Cream  with  booklet  "How  to  Keep  Teeth  and  Mouth  Healthy." 


106 


SCREENLAND 


HELEN  ARRIVES  —  Continued  from  page  51 


too.  Could  anything  be  more  wonderful 
than  this  glorious  sunshine  and  pictures? 
From  now  on  I  expect  to  call  Hollywood 
home  and  motion  .pictures  my  life  work. 
Really,  I  am  very  grateful  for  the  oppor' 
tunity  to  be  here." 

Helen's  first  move  was  to  purchase  a 
modest  little  home  and  furnish  it.  Then 
she  bought  a  car  of  inexpensive  make.  Be' 
ing  without  ready  funds,  all  were  bought 
on  monthly  payments.  Her  salary  was  not 
large  but  people  told  her  it  should  in- 
crease rapidly.  Having  no  expensive  habits 
she  anticipated  no  trouble  in  meeting  the 
payments  and  all  would  have  been  well 
had  things  turned  out  as  expected.  But 
she  had  not  reckoned  on  the  second  detour. 
There  was  a  break  in  the  paving  of  the 
road  to  fame?  She  had  to  go  'round,  and 
the  going  was  none  too  good. 

During  her  first,  six  months  in  pictures 
she.  made  but  one  production — a  talkie. 
All  who  saw  her  lisping  characterization  in 
"The  Ghost  Talks"  proclaimed  it  a  master- 
piece  but  after  that  picture  she  was  allowed 
to  sit  with  folded  hands. 

To  a  girl  actively  inclined,  this  always 
proves  a  hardship.  It's  awfully  easy  to 
"Go  Hollywood'  in  Hollywood  when  there 
is  nothing  eke  to  do.  "Satan  finds  work 
for  idle  hands"  in  any  city  but  he  is  es- 
pecially fond  of  finding  jobs  for  non-work- 
ing motion  picture  players.  Salaries  are 
large  in  the  film  capital  and  he  has  no 
trouble  providing  ways  for  them  to  spend 
money.  Proving  an  easy  subject,  idle  Helen 
'  was  introduced  to  Hollywood  night  life. 
By  the  time  she  was  cast  in  her  second 
picture,  she  had  spent  her  salary  months  in 
advance  and  was  head-over-heels  in  debt. 


Had  Fox  kept  her  busy  afterwards  every- 
thing might  have  turned  out  well,  but 
"Blue  Skies"  was  Helen's  last  picture  for 
that  company.  Immediately  after  it,  she 
was  informed  her  services  were  no  longer 
in  demand  and  her  contract  would  not  be 
renewed.  It  came  as  a  bolt  from  the  blue 
skies  to  her  for,  despite  the  fact  she  had 
made  but  two  pictures  for  them,  Fox  offi- 
cials had  expressed  themselves  satisfied  with 
her  work. 

Can  you  imagine  the  heart-break  that 
was  hers?  Without  warning  she  was  left 
high  and  dry  by  the  tide  of  fortune.  No 
money,  no  position,  no  credit  and  four 
thousand  miles  from  home.  The  modest 
little  home,  heavily  mortgaged,  was  lost. 
Her  automobile  Went  next  and  then  the 
furniture  passed  into  the  hands  of  its  orig- 
inal owner.  With  no  hope  for  the  future 
in  pictures,  there  was  nothing  to  do  but 
return  to  New  York  where  she  might  find 
work  on  the  stage.  So  she  prepared  to 
make  the  trip.  The  detour  had  proven 
rocky- and  she  was  still  far  off  the  road  to 
fame.  '  <-.-  .-  .-. : 

Several  of  her  friends  were  present  when 
Helen  announced  her  determination  to  re- 
turn East.  None  of  them  will  ever  forget 
the  heart-break  in  her  voice  when  she  told 
them. 

"Well,"  she  said  bravely,  though  her 
voice  trembled  a  little;  "I've  been  a  failure 
and  it's  all  my  fault.  Perhaps  things  would 
have  been  different  had  I  kept  busy  but 
that's  a  poor  excuse.:  I  can  blame  only 
myself  so  I'll  just  say  goodbye,  and  bless 
you  all  for  your  many  kindnesses." 

But  Helen  was  not  fated  to  leave  Holly- 
wood.   One  of  her  friends,  believing  in  her 


more  than  she  did  herself,  begged  so  earn- 
estly that  she  finally  consented  to  try  again. 
With  his  help,  she  secured  a  manager  with 
whom  she  went  to  Pathe  studios  and  asked 
for  a  role  in  "The  Grand  Parade,"  then 
being  cast.  A  test  was  made  both  of  her 
voice  and  screen  appearance.  This  being 
pronounced  excellent,  the  part  was  hers. 

Determined  to  prove  her  failure  with 
Fox  was  not  due  to  inability,  Helen  threw 
herself  into  her  new  characterization.  For 
weeks  she  lived,  slept  and  dreamed  it,  and 
acted  accordingly.  Pathe  officials  were  de- 
lighted and,  before  the  picture  was  com- 
pleted, signed  her  to  a  long-term  contract 
which  calls  for  many  times  the  salary  paid 
by  Fox.  Hailing  her  as  a  second  Lillian 
Gish  (though  I  think  that  a  little  unfair 
-to  Helen,  who  has  a  personality  of  her 
own)  the  studio  is  rapidly  building  her  to 
stardom.  In  her  second  picture,  she  is 
being  featured  in  the  all-star  cast  of  "Swing 
High"  and  "  studio  officials  are  not  afraid 
of  results. 

This  time  there  will  be  no  detour  along 
the  road  to  fame.  The  street  is  well  paved 
and  Helen  intends  to  stick  to  the  middle 
of  the  road. 

Anxious  to  see  others  succeed  where  she 
nearly  failed  herself,  Helen  hands  out  a 
little  very  good  advice. 

"If  you  want  to  be  wild,  go  to  Borneo 
— not  Hollywood,"  she  says.  "There  are 
two  things  that  absolutely  refuse  to  mix 
— success  and  excess.  If  you  want  to  have 
a  so-called  good  time  Hollywood  will  pro- 
vide it  but  it  won't  mix  with  a  screen 
career.  When  you  enter  pictures,  stick  to 
your  knitting,  otherwise  there  will  be  several 
good-sized  holes  in  the  stocking  of  success." 


A  SINGING  LESSON  BY  RAMON  NOVARRO  —  Continued  from  page  2j> 


All  languages  are  interesting  to  sing  in, 
for  each  language  has  a  different  and  dis- 
tinct value  to  the  voice.  French  is  splen- 
did for  the  nasal  tones;  Italian  and  Spanish 
for  the  forward  open  vowel  sounds;  and 
although  English  is  looked  upon  by  many 
as  the  ugly  duckling  of  the  language  family, 
it  can  be  of  great  benefit  to  the  voice  and 
very  singable  if  special  attention  is  given 
to  the  consonants.  Russian  and  German 
are  wonderful  languages  to  help  one  to 
attain  clean,   crisp  diction. 

When  I  vocalize  I  always  prefix  the 
vowel  sounds  with  a  consonant,  to  bring 
the  tone  on  the  lips.  For  instance,  when 
practising  on  aw,  I  put  the  consonant  n 
— making  it  naw.  The  same  thing  should 
be  practised  on  nay,  ni,  no,  and  nu. 

A  student  should  become  acquainted  with 
music  of  all  nations,  for  besides  the  beauty 
that  one  takes  into  one's  own  soul  it  is 
a  broad  education  to  know  the  different 
countries  by  the  distinct  quality  and  charm 
that  each  expresses  through  the  medium 
of  its  music.  Personally,  I  love  music  and 
composers  the  world  over,  but  one  of  my 
greatest  favorites  is  Verdi.  His  operas  are 
so  big,  so  free  from  petty  themes,  so 
melodic  and  yet  so  massive.  He  has  the 
rare  combination  of  all  the  virtues  and  few 
of  the  faults  of  most  composers.  His 
"Aida,"  "Traviata,"  "Otello,"  "II  Trova- 
tore,"  and  many  others  shine  like  price- 
less jewels  in  the  crown  of  everlasting 
melody.  They  say  in  answer  to  a  question- 
naire asking  for  the  most  familiar  and 
dearly  loved  tunes,  sent  to  the  four  corners 
of  the  earth,  Verdi's  "II  Trovatore"  led 
all  the   rest.    The  children   of  the  slums 


and  the  crown  heads  of  the  nations  know 
the  Miserere.  This  proves  that  really  great 
music  will  be  appreciated  by  all.  Verdi  is 
by  far  the  greatest  composer  for  the  singer; 
he  knew  more  about  writing  for  the  voice 
than  any  of  his  contemporaries,  or  in  fact, 
any  modern  composer. 

When  I  was  in  Milan,  I  attended  several 
wonderful  performances  at  La  Scala,  ex- 
cellent from  all  angles,  not  only  the  voices, 
but  scenery,  costumes,  lighting  and  orches- 
tra are  perfect  at  La  Scala.  But  I  was 
disappointed  in  the  climate  of  Northern 
Italy.  Always  thinking  of  Italy  as  a  land 
of  singers  and  sunshine  I  expected  it  to 
be  like  California.  Because  of  this  climate, 
California  is  a  wonderful  place  for  singers 
to  live.  Although  you  should  never  let 
such  things  as  climate,  or  anything  else 
for  that  matter,  affect  your  voice. 

In  my  last  pictures  I  have  found  it  quite 
difficult  to  sing  after  a  long  day  on  the 
set  with  the  strong  lights  drying  up  the 
air.  Little  does  our  picture  public  realize 
how  hard  we  work.  How  many  long  hours 
we  stand  waiting  for  lights,  to  adjust  the 
microphone,  and  countless  other  things  that 
arise  to  delay  proceedings.  The  tout  en- 
semble of  a  sound  set  is  a  rare  combination 
of  mental  and  manual  labor.  Carpenters, 
electricians,  property  men,  designers,  cos- 
tumers,  technical  directors,  make-up  experts, 
cameramen  and  sound  technicians,  tone 
operators,  script  girls,  writers,  musicians, 
and  last  but  not  least,  the  director  and 
the  actors.  To  make  all  of  these  people  in 
their  different  departments  work  in  unison 
while   a   singer  waits   to   sing   a   song  is 


nothing  short  of  a  miracle.  Often  when  I 
hear  someone  criticize  a  singer  on  the 
screen,  I  feel  how  much  better  he  might 
have  been  under  different  circumstances. 
In  a  theater,  for  instance,  the  stage  is 
ready,  the  orchestra  begins  and  the  singer 
walks  into  the  setting  and  falls  into  the 
rhythm  of  things,  sings  his  number  or  act, 
as  the  case  may  be;  then  he  is  through  for 
one  performance.  This  is  never  true  of 
pictures;  scenes  are  taken  over  and  over 
and  numbers  are  sung  literally,  countless 
times. 

One  of  the  great  ambitions  of  my  life 
is  to  be  a  composer,  and  to  that  end  I 
intend  studying  for  many  years  to  come. 

I  have  already  composed  many  songs.  In 
my  picture,  "In  Gay  Madrid,"  the  two 
numbers  Into  My  Heart,  Querida  and 
Smile,  Comrade,  "While  We  May,  I  wrote 
in  collaboration  with  Turk  and  Ahlert.  In 
my  other  picture,  "The  Singer  of  Seville," 
I  collaborated  with  Herbert  Stothart  on 
the  Prelude  and  Lonely.  Someday  I  will 
compose  an  opera  for  the  screen. 

Before  I  finish  this  lesson,  I  would  like 
to  send  forth  the  message  of  inspiring 
people  to  sing.  Not  only  to  those  who 
wish  for  careers  on  the  stage  or  screen 
but  to  everyone,  to  those  who  have  but 
little  time  to  devote  to  it:  sing  in  Glee 
Clubs,  in  churches,  in  choral  societies — sing 
to  your  sweethearts,  sing  at  your  work, 
and  sing  when  you  play!  For  again  I 
repeat — singing  is  the  most  psychic  of  all 
arts,  and  whatever  you  hold  as  your 
highest  conception  of  beauty,  you  will 
eventually  express. 


for   August  1930 


107 


r  A  Hundred  Million  Eager  Hearts 


108 


SCREENLAND 


SUMMER  RECIPES  —  Continued  from  page  95 


recipes  below,  for  the  convenience  of 
readers  who  would  like  to  try  them.  Most 
of  them  are  my  mother's,  ones  that  are 
tried  and  proven  favorites  in  our  family." 

PERFECTION  FRUIT  SALAD 
V2  package  gelatine 

1  pint  boiling  water 
y2  cup  cold  water 

1  cup  sugar 

VS»  cup  fruit  juices 

2  cups  finely  chopped  apples 
1  cup  shredded  pineapple 

y2  cup  chopped  cherries 

1  orange  chopped  fine 
Yz  cup  nut  meats 

Soak  gelatine  in  cold  water  two  minutes, 
add  fruit  juices,  boiling  water,  sugar,  and 
strain.  Place  in  refrigerator  and  when  jelly 
begins  to  set,  add  remaining  ingredients. 
Serve  on  lettuce  with  mayonnaise. 

POTATO  SALAD 
?  good   sized  potatoes 

3  large  tomatoes 

5  hard  boiled  eggs 

2  cucumbers  chopped  into  cubes 
y%  onion  chopped  very  fine 

Boil  the  potatoes  and  when  cold  dice. 


Add  the  tomatoes,  cucumbers,  eggs  and 
onion  thinly  sliced  to  the  potatoes.  Add 
enough  mayonnaise  to  moisten.  Add  salt 
and  paprika  to  ■  taste. 

AVACADO  SANDWICHES 
1  large  avocado 

1  loaf  bread 
y2  lemon 

Chop  avocado  very  fine.  Mash  to  a 
paste,  then  add  juice  of  lemon,  salt  and 
pepper  to  taste.  Spread  on  thin  slices  of 
buttered  bread  and  cut  into  long  narrow 
strips.  Mayonnaise  may  be  added  to  the 
paste,  if  desired. 

NEW  PEAS  AND  POTATOES 
iy2  lb.  peas 
iy2  lb.  new  potatoes 

2  tablespoons  butter 
2  tablespoons  flour 
1  pint  milk 

Boil  vegetables  separately  until  done.  Add 
a  fourth  teaspoon  sugar  to  the  water  in 
which  peas  are  boiled.  To  make  the  sauce, 
put  butter  in  a  pan  and  melt.  Add  flour 
and  stir  until  smooth;  add  milk  and  con- 
tinue  stirring  until  there  are  no  lumps- 
Add  peas  and  potatoes  to  sauce  and  let 


simmer  until  thoroughly  heated.  Sprinkle 
with  paprika  and  serve. 

MACAROON  BISQUE 

1  pint  sweet  cream 

2  dozen  macaroons 

%  cup  pulverized  sugar 
Whip  cream  very  stiff.  Add  the  maca- 
roons,  pulverized,  then  the  sugar.  Put  in 
a  dish  and  place  in  the  frigidaire.  Turn 
on  extreme  cold  until  the  bisque  begins  to 
freeze,  then  turn  to  ordinary  cold. 

FRUIT  PUNCH 

6  oranges 

3  lemons 

3  grapefruits 
y2  pint  tea 

1  large  can  crushed  pineapple 
1  pint  concentrated  grape  juice 

4  cups  sugar 

1  pint  chipped  ice 
Mix  fruit  juices,  tea,  crushed  pineapple 
and  sugar  with  chipped  ice.  The  sugar 
mixes  better  if  dissolved  with  a  little  hot 
water  and  cooled  before  adding  it  to  the 
punch.  Place  punch  in  refrigerator  until 
ready  to  serve. 


FORE!  "FOLLOW  THRU"  LOCATION  —  Continued  from  page  57 


cured  her  of  being  afraid  or  not.  Evi' 
dently  she  decided  that  her  words  would 
fall  upon  sympathetic  ears  for  she  com- 
pleted  her  sentence-  She  happened  to  meet 
a  lady  who  told  her,  one  time  when  she 
said  how  she  suffered  from  stage  fright,  that 
if  she  would  just  realize  before  she  went 
on  the  stage  that  she  was  only  a  channel 
for  God's  expression  of  joy  she  would  lose 
all  sense  of  self-consciousness.  "I  took  the 
advice  seriously  and  used  to  stop  a  moment 
before  I  went  on  and  closing  my  eyes 
would  think,  'now  God  is  making  people 
happy  through  me.'  Then  I'd  caper  about 
and  have  the  time  of  my  life  because  I 
never  thought  that  I,  myself,  was  doing 
anything.  The  idea  relieved  me  of  all  re- 
responsibility  and  I  did  much  better  work. 
And  people  laughed  and  seemed  to 
be  enjoying  themselves  and  I  loved  it,  too. 
I  do  the  same  thing  in  pictures,  and 
really  I  don't  think  I  could  act  at  all  if 
I  didn't  say  my  little  prayer,  because  pic 
tures  frighten  me.  I'll  get  used  to  them, 
though." 

I  suppose  Zelma  will  be  razzed  by  her 
friends  because  she  told  me  this  but  I'm 
going  to  pass  it  on  because  it  is  a  beautiful 
thought  and  one  that  will  help  anyone,  if 
they  try  it  out,  no  matter  whether  they 
are  scrubbing  floors  or  building  cathedrals. 
And  because  she  is  sincere  I'm  sure  she 
will  know  how  to  handle  the  razzing  if 
she  gets  any. 

She  told  me  another  thing  she  used  to 
do  when  she  was  a  little  girl  to  help  her 
through  the  tiresome  tasks  we  have  all  been 
called  upon  to  perform  when  play  seems 
so  much  more  attractive — namely,  helping 
mother.  She  turned  everything  into  a 
game.  "Mother  was  very  particular  about 
having  things  tidy  and  I  liked  them  that 
way,  too,  only  it  was  such  a  nuisance  to 
spend  time  putting  things  in  order.  So 
I  used  to  play  that  the  forks  were  ladies 
and  the  knives  gentlemen  and  the  tea' 
spoons  children.  The  table-spoons  and 
soup  spoons  were  the  grandparents,  and 
all  these  people  had  their  own  rooms  and 
had  to  be  kept  separately.    And  it  became 


a  lot  of  fun."  Which  may  be  a  very  happy 
thought  for  some  other  little  girl  who  finds 
washing  and  wiping  and  putting  away  the 
dinner  dishes  an  uninspiring  thing  to  do. 

It  was  just  pathetic  what  that  moving 
picture  company  did  to  the  El  Mirador! 
It  was  nothing  for  five  or  six  grips  to 
scale  the  walls  and  look  for  a  spot  to 
plant  their  reflectors,  mike  booms,  or  even 
camera  platforms.  Every  graceful  turret  of 
the  hotel  was  commandeered  for  this  pur- 
pose sooner  or  later.  And  oh,  how  hot  it 
was!  Terrible,  dry,  throbbing  heat,  for  it 
was  about  the  tag-end  of  the  season  when 
the  temperature  becomes  unendurable.  I 
looked  up  at  one  grip  who  had  been 
sitting  in  the  broiling  sun  balancing  a  re- 
flector for  about  an  hour.  He  was  fat, 
and  not  too  young,  and  the  expression  of 
disgust  on  his  face  was  a  comical  sight. 
I'll  bet  he  wouldn't  have  given  a  nickel 
for  the  whole  moving  picture  business  at 
that  moment. 

But  what  a  break  for  the  hotel  guests! 
There  they  were  getting  a  free  look  at 
movies  in  the  making — a  thing  no  amount 
of  money  or  pleading  would  have  given 
them  the  chance  to  do  in  Hollywood.  Only 
a  favored  few  are  admitted  through  the 
sacred  portals  of  the  studio.  Out  here 
they  stood  in  crowds  and  feasted  their 
eyes  on  Nancy  Carroll,  Buddy  Rogers, 
Thelma  Todd,  and  laughed  at  the  capers 
of  Zelma  O'Neal,  Margaret  Lee,  Eugene 
Pallette  and  Don  Tompkins.  Margaret  Lee 
and  Don  supplied  the  juvenile  humor  while 
Zelma  and  Eugene  were  more  sophisticated, 
and  you'll  laugh  plenty  over  the  four  of 
them. 

Your  old  friend  Claude  King  plays 
Nancy's  father  in  this,  and  told  us  about 
the  first  time  he  ever  met  Maurice  Stiller 
who,  as  you  all  know,  is  responsible  for 
bringing  Greta  Garbo  to  our  shores.  Stiller 
had  sent  for  Mr.  King,  but  after  he  had 
been  ushered  into  the  director's  presence 
Stiller  was  busy  writing  and  took  no  notice 
of  him  for  several  minutes.  Well,  Claude 
isn't  high-hat,  but  aside  from  the  fact  that 
he  has  considerable  dignity  and  reputation 


as  an  artist  it  is  disconcerting  even  if  it 
is  your  very  first  film  job  to  have  'a  person 
disregard  you  for  several  moments  after  you 
have  been  announced.  However,  Claude 
stood  his  ground,  thinking  it  was  a  new 
kind  of  test.  Suddenly  Stiller  looked  up 
at  him  and  said  impatiently,  "No,  no. 
Gott,  no!"  and  went  on  writing.  Appar- 
ently the  interview  was  over,  but  Claude 
said:  "Well,  Mr.  Stiller,  I  came  here  at 
your  request  and  at  the  advice  of  my 
manager — "  and  was  about  to  apologize 
for  living  when  Stiller  cut  in  with,  "You'll 
be  remembered  when  the  rest  of  us  are 
forgotten!" 

"What  do  you  mean?"  asked  Claude, 
suddenly  furious  at  what  he  thought  was 
ridicule,  the  cause  of  which  he  did  not 
understand. 

"You'll  be  remembered  when  the  rest 
of  us  are  forgotten,"  Stiller  repeated. 

"But  I  don't  understand,"  said  Claude. 

"Bernard  Shaw  mentioned  you  in  the 
foreword  of  one  of  his  plays.  A  man 
who  is  a  fine  enough  actor  to  be  worthy 
of  comment  from  Shaw  will  outlast  all  of 
us.  So  why  should  you  care  that  you  are 
not  the  type  for  the  part  I  have  in  mind?" 

Which  is  an  illuminating  incident  on 
Stiller! 

Buddy  Rogers  was  looking  very  hand- 
some in  a  golfing  outfit  with  orange  sweater 
and  socks  to  match.  In  private  life  he 
wears  the  same  sort  of  togs — went  back 
to  town  in  a  yellow  sweater  and  socks. 
How  the  flappers  gazed  at  him,  and  they 
were  almost  able  to  rub  elbows  with  him, 
too,  for  as  soon  as  each  player  finished 
a  scene  they  would  dash  for  the  lobby 
to  get  away  from  the  burning  rays  of  the 
sun  until  the  next  scene  was  called.  Buddy 
is  certainly  a  prize-winning  heartbreaker  if 
one  can  judge  by  the  languishing  looks 
cast  in  his  direction.  Even  in  his  own 
world  the  girls  are  not  immune  to  the 
charm  that  he  is  quite  unconscious  of  pos- 
sessing. But  Buddy's  head  is  set  squarely 
on  his  shoulders.  He  is  shy,  modest,  and 
I  noticed  what  nice  manners  he  had  and 
how  sweet  he  was  to  his  mother.  His 


for    August    19  30 

Grace  that 
is  natural 

and  always 
attractive 


109 


In  dieting  for  the  fashionable  figure,  be  sure  your  diet  is  well  balanced  with  a  regular  supply  of  roughage 


Dorothy  Mackaill 
First  Rational  Pictures,  Inc. 


Today,  to  be  really  beautiful,  one  must 
be  radiantly  healthy,  yet  desirably  femi- 
nine. Youthfully  slender,  but  with  never 
a  trace  of  the  "flatness"  of  yesterday. 

How  many  girls,  dieting  to  achieve 
this  fashionable  figure,  have  destroyed 
both  health  and  charm! 

And  so  unnecessarily! 

By  following  a  few  simple  rules  it  is 
comparatively  easy  to  control  the  weight 
— and  be  healthy  and  more  beautiful 
while  doing  so. 

Eat  balanced  menus — designed  to  reduce 
safely.  Avoid  the  two  great  dangers  of  diet' 
ing — anemia  and  improper  elimination. 

One  delightful  product  that  is  not 
fattening  will  help  avoid  both  of  these 
dreaded  dangers.  It  is  Kellogg's  All-Bran. 

Add  it  to  any  reducing  diet. 
It  furnishes  the  roughage  your 
system  needs  to  keep  it  clean 
and  healthy. 

Improper  elimination  is  one 
of  beauty's  greatest  foes!  It 
is  the  most  frequent  cause  of 
pimples,  sallow  complexions, 
lines  of  age,  listlessness  and 
disease.  Just  two  tablespoon- 
fuls  of  Kellogg's  All-Bran 
daily  is  guaranteed  to  elimi- 
nate this  danger. 


RELIEVES  CONSTIPATION 

ALL-BRAN 


KELLOGG  COMPANY 


In  addition,  it  helps  prevent  dietary 
anemia  by  adding  iron  to  the  blood.  Iron 
brings  glorious  color  to  the  lips  and  com- 
plexion. With  milk  or  fruit  juices,  important 
vitamins  are  introduced  to  balance  the  diet. 
You  can  eat  Kellogg's  All-Bran  in  so 
many  delightful  ways — with- 
out adding  many  calories  to 
the  diet.  In  fruit  juices — 
sprinkled  on  salads,  in  soups. 
Cook  it  in  bran  muffins,  ome- 
lettes, breads.  New  processes 
have  improved  All-Bran — 
both  in  texture  and  in  taste. 
Recommended  by  doctors. 

Always  ask  for  Kellogg's 
All-Bran — in  the  red-and- 
green  package.  Made  by 
Kellogg  in  Battle  Creek. 


SEND  FOR  THE  BOOKLET 

"Keep  Healthy  While  Tou 
Are  Dieting  to  Reduce" 

It  contains  helpful  and  sane  counsel.  Women 
who  admire  beauty  and  fitness  and  who  want  to 
keep  figures  slim  and  fashionable  will  find  the 
suggested  menus  and  table  of  foods  for  dieting 
invaluable.  It  is  free  upon  request. 


Kellogg  Company,  Dept.  SG-8 
Battle  Creek,  Mich. 

Please  send  me  a  free  copy  of  your  booklet, 
"Keep  Healthy  While  You  Are  Dieting  to  Reduce." 


T^ame  

Address. 


110 


SCREENLAND 


mother,  father,  and  kid.  brother  were-  there 
with  him — a  pleasant  vacation  for'  them. 
Almost  all  the  players  had  their  families 
there.  You  see  it  wasn't  a  bit  like  a 
location  —  more  like  a  trip  to  a  vacation 
resort. 

I  asked  Henry  Hathaway,  who  always 
seems  to  be  the  assistant  director  on  every 
Paramount  location  that  I  am  sent  on,  how 
he  kept  the  hotel  guests  in  order.  It  was 
bad  enough  in  the  silent  days  to  keep  out' 
siders  from  underfoot,  but  now!  Suppose 
someone  wants  to  go  for  a  ride  and  their 
car  is  parked  perhaps  fifty  or  a  hundred 
feet  from  the  spot  from  which  the  com- 
pany is  shooting.  They  are  asked  not  to 
start  their  motor,  not  to  slam  their  doors 
and  not  to  talk  until  the  releasing  whistle 
blows.  The  guests  are  told  to  move  aside 
and  keep  away  and  not  to  walk  across 
the  lawn  while  the  shooting  is  going  on, 
and  a  few  other  'don'ts.'  But  they  are 
given  a  place  to  stand  where  they  can  see 
what  is  going  on,  so  they  don't  feel  in- 
jured. Henry  is  the  only  assistant  I  happen 
to  have  been  on  location  with  who  has 
this  delicate  job  to  perform  and  he  seems 
to  get  it  on  every  picture.  On  "Redskin"  he 
had  a  crowd  of  people  from  Alburquerque 
as  well  as  visiting  Indians  to  boss  around. 
In  "The  Virginian"  he  had  to  stop  motors 
on  the  high  road,  and  now  the  El  Mirador 
guests.  "How  do  you  control  them?"  I 
asked  him,  "they  must  think  you  have  an 
awful  nerve."  "I  just  ask  them!"  said 
Henry.  "They  like  to  see  movies  being 
made  and  know  that  we  have  to  push  them 
around  a  little.  We  couldn't  do  anything 
about  it  if  they  refused  but  people  are 
pretty  regular,  I  find,  and  not  nearly  as 
disobliging  as  the  pessimists  would  like  us 
to  believe." 

Eugene  Pallette  had  on  an  awful-look- 
ing golf  suit — just  you  wait  till  you  see 


it,  and  the  picture  is  one  hundred  percent 
Technicolor,  so-  you-  won't  miss  '  a  thing. 
Gene  had  a  tricky  line  to  say  and  muffed 
the  word  'rubber.'  "What's  'lubber'?" 
grinned  Henry  Hathaway.  "Henry  says 
I  muffed  rubber"  said  Gene.  "I  heard  it 
trip  myself — I  mean  bounce!"  Gene  has 
a  reputation  for  being  something  of  a  wit, 
and  I  must  say  that  most  of  the  humor 
one  hears  broadcasted  from  the  Paramount 
lot  originates  with  Gene. 

Lloyd  Corrigan  and  Laurence  Schwab 
are  co-directing,  and  they  make  a  pretty 
fine  team.  Mr.  Corrigan  is  responsible 
for  some  of  the  best  stories  Paramount  has 
recently  put  out,  and  Mr.  Schwab  of  Schwab 
and  Mandel  fame  is  well-known  in  the 
theatrical  field  as  producer  of  "The  Desert 
Song,"  "Good  News,"  "Follow  Thru,"  and 
"The  New  Moon." 

There  were  more  than  a  hundred  people 
in  the  scenes  the  first  day  I  was  there, 
and  I  had  about  decided  that  Paramount 
had  taken  over  the  whole  second  annex 
to  house  them  when  one  of  the  extras  en- 
lightened me.  Four  busses  left  the  studio 
in  Hollywood  at  three-thirty,  in  the  morn- 
ing, arriving  at  Palm  Springs  in  time  for 
them  to  be  made  up  by  eight-thirty,  and 
carried  them  back  each  night!  This  per- 
formance went  on  for  three  or  four  days. 
You'd  think  the  girls  would  look  exhausted, 
but  they  didn't.  There  is  some  magic  in 
pictures  that  keeps  eyes  bright  and  faces 
cheerful  in  spite  of  the  long  hours  and 
gruelling  work  under  lights  that  almost 
make  one  faint  if  stood  under  longer  than 
ten  or  twelve  minutes  at  a  stretch. 

There  is  a  law  out  here,  an  assistant 
told  me,  that  permits  a  company  to  work 
their  people  any  number  of  hours  but  they 
have  to  be  fed,  every  six  of  them.  So 
the  girls  and  boys  got  plenty  to  eat  even 
if  they  were  short  on  sleep. 


The  assistant  manager  of  the  El  Mirador 
was  kind  enough  to  drive  us  all  around 
Palm  Springs,  pointing  out  places  of  inter- 
est and  finally  winding  up  at  the  summit 
of  Palm  Canyon  where  a  tiny  store  offers 
all  kinds  of  Indian  pottery  and  animals 
carved  out  of  wood  by  a  gentleman  who 
lives  in  Palm  Springs  and  likes  to  while 
away  his  leisure  hours  thus.  There  were 
some  elephants  and  camels  which  stood 
about  eight  inches  high,  but  I  liked  best 
the  little  Scotty  dogs  about  three  inches 
long  that  looked  at  us  with  shy,  though 
friendly,  eyes. 

Several  stars  were  vacationing  at  El  Mir- 
ador, among  them  Eddie  Cantor,  who  is 
now  in  the  midst  of  making  "Whoopee" 
for  Sam  Goldwyn;  Ken  Maynard,  who  in- 
tends building  a  theater  at  Palm  Springs; 
Kathryn  Crawford;  Mrs.  Lawrence  Tib- 
bett,   and  the  Tibbett  twins. 

The  last  few  location  scenes  were  scrab- 
bled through  because  everyone  was  anxious 
to  get  back  home.  Buddy  Rogers  took  a 
final  plunge  in  the  pool  where  his  brother 
had  been  all  morning  and  then,  after  a 
hasty  lunch,  dashed  off  so  his  dad  could 
keep  an  appointment  in  town. 

Zelma  and  Eugene  were  in  the  final 
scenes — the  ones  standing  on  the  bench 
overlooking  the  golf  course  on  the  other 
side  of  a  hedge,  which  was  made  by  Par- 
amount. When  the  whistle  blew  after  their 
third  scene,  Lloyd  Corrigan  jubilantly  tore 
the  handkerchief  off  his  forehead  which 
he  had  worn  because  of  the  heat  and 
shouted,  "Okay!  Wrap  'em  up  for  home 
and  mother!"  And  you  never  saw  such 
scrambling.  It  was  like  a  grammar  school 
recess.  Some  went  to  pack  and  others  for 
the  automobiles  waiting  to  take  them  back 
to  Hollywood.  And  thus  ended  the  "Fol- 
low Thru"  location. 


HOW  TO  HAVE  A  HOLLYWOOD  FIGURE  —  Continued  from  page  19 


fall  for  a  woman  with  a  beautiful  figure — 
whether  on  the  stage  or  off.  A  man  may 
overlook  a  peevish  disposition  in  a  woman 
— poor  dumb  fools  that  we  are — but  there 
isn't  one  man  out  of  ten  thousand  Madison 
Square  fight  fans  who  can  overlook  a  thick 
ankle  or  a  pair  of  hips  broadening  out  like 
the  sides  of  a  Zeppelin  hangar.  So  if  you 
want  to  get  your  man — or  woman — it's  up 
to  you  to  get  rid  of  that  old  devil  fat. 

It's  dumb  to  get  fat  in  the  first  place. 
But  few  people  realize  it  until  it's  too  late. 
There  are  five  kinds  of  people  who  mostly 
run  to  fat : 

1.  The  greedy. 

2.  The  vain. 

3.  The  ignorant. 

4.  Those  with  defective  hearts. 

5.  People  who  have  trouble  with  their 
pituitary  glands. 

The  greedy  get  fat,  naturally,  because 
they  over-eat.  The  vain  because  they  are 
too  swell-headed  to  see  themselves  in  their 
true  light.  The  ignorant  because  they 
haven't  got  the  brains  to  realize  they're  fat 
until  they  tip  the  scales  at  a  hundred  and 
eighty  or  so.  People  with  heart  trouble 
take  on  weight  because  they're  afraid  to 
exercise,  and  people  with  gland  trouble  do 
the  same  because  nobody — not  even  the 
most  famous  scientists — know  what  all  this 
gland  business  is  about. 

But  regardless  of  the  reason  for  your 
over-weight,  you  can  get  rid  of  it.  And 
not  by  trick  diets,  either,  but  by  exercise. 
And  the  first  thing  for  you  to  understand 


is  that  exercise  at  my  gymnasium  is  divided 
into  two  classes:  active,  for  the  strong; 
and  passive,  for  the  not-so-strong. 

To  give  you  a  tangible  idea  of  just  how 
to  go  about  shedding  those  extra  pounds, 
let's  imagine  that  you're  up  at  my  gym- 
nasium, and  I've  promised  to  return  your 
money  to  you  unless  I  can  show  you  how 
to  melt  off  the  fat. 

We'll  take  the  well  ones  first.  You've 
been  examined,  your  heart  has  been  found 
o.k.    So  now  your  lesson  is  ready  to  begin. 

See  that  woman  over  there?  She's  the 
assistant  district  attorney  for  the  state  of 
New  York.  It's  as  necessary  for  her  to 
be  thin  as  it  is  for  a  stage  star.  Because 
when  you  hold  a  big  business  job,  your 
clients  expect  you  to  be  a  pleasure  to  look 
at — not  an  eye-sore. 

"Who  is  that  other  woman?"  you  ask. 
"The  pretty  one  with  the  slim  legs  and 
hips?" 

Well,  she's  a  grandmother.  And  she's 
just  coming  here  to  take  off  a  little  surplus 
around  the  waist- — so  she  can  wear  the  new 
style  dresses.  She's  faithful,  too.  She 
comes  every  day. 

Now,  we're  all  ready.  Go  over  there 
to  your  dressing  room  and  put  on  your 
reducing  garments. 

"What  are  they?" 

My  own  invention.  Rubber  face  and 
chin  mask.  Rubber  trousers,  rubber  military 
coat,  and  rubber  abdominal  band,  over 
which  you  must  wear  a  thick  woolen  or 
cotton  fleece  union  suit,  a  bathing  suit, 


and  a  sweater  coat  which  gives  you  six 
thicknesses  of  wrapping  beneath  which  you 
must  exercise — and  sweat.  That's  the 
answer: — you  get  thin  by  the  sweat  of 
your  brow — and  all  points  south. 

We're  all  dressed  for  the  first  act,  so 
we'll  go  up  one  story  to  the  roof  where, 
under  glass  which  allows  you  to  enjoy  the 
pure  rays  of  the  sun,  the  fun  begins. 

First  we  walk  and  dog-trot,  flat-footed 
a  little^ — this  is  to  arouse  a  good  perspira- 
tion. And  next,  we  indulge  in  special  ex- 
ercises, after  ten  laps  around  the  open-air 
track.  Of  course,  if  you  still  feel  peppy, 
you  can  jog  20  laps — which  makes  one 
mile. 

Now,  we'll  leave  the  well  ones  up  on 
the  roof  for  a  little  rest  and  sunshine. 
That'll  restore  their  energy.  Downstairs 
in  the  gym  you  will  later  watch  them  lie 
on  the  health  tables  and  go  through  'Belly 
Flattening.'  Now  let's  see  how  those  who 
are  taking  the  passive  exercise  are  getting 
along — those  whose  hearts  won't  let  them 
go  through  the  strenuous  routine. 

Here  we  find  row  after  row  of  men 
and  women  in  their  own  separate  depart- 
ments standing  in  the  vibratory  massage 
machines  or  sitting  in  the  chair  massage 
rollers.  The  first  machine  looks  like  a  wire 
barrel.  You  step  into  it,  the  attendant 
presses  the  button.  The  action  begins. 
From  your  knees  up  to  above  your  waist, 
this  wire  barrel  having  a  two-hundred- 
pound  massage  pressure,  gently  and  firmly 
massages  you,  stimulating  the  circulation, 
quickening    the    liver    and    kidneys,  and 


for   August  1930 


111 


Your  poise  and  charm 

are  safe  with  this 
deodorizing  protection 

V 


helping  to  stretch  the  intestines  and  the 
vertebra. 

The  second  machine — the  chair  massage 
roller — is  one  you  sit  on,  to  have  your 
hips,  thighs,  and  legs  reduced.  It  is  made 
up  of  an  immense  number  of  rubber  spools 
which  quietly  revolve,  breaking  down  the 
fatty  tissues  and  rubbing  off  and  solidifying 
the  surplus  flesh — a  real  lazy  man's  way 
of  reducing  with  no  harm  done  to  a  de- 
fective heart. 

But  now,  of  course,  I  realize  that  all  of 
you  can't  get  to  New  York  for  personal 
treatment,  so  the  only  thing  for  you  to  do 
is  to  treat  yourselves  in  our  own  homes. 
So  put  on  some  heavy  wool  or  get  rubber 
garments,  and  as  our  class  in  the  gym- 
nasium  lies  down  on  the  health  tables  and 
starts  their  routine  of  exercise,  you  lie  on 
your  floor  at  home  and  go  through  the 
same  business.  This,  of  course,  only  if  you 
have  no  serious  heart  trouble. 

1.  Lie  on  the  floor,  face  down.  Rise 
slowly  on  the  palms  of  your  hands 
and  knees  drop  the  weight  with  the 
abdomen  striking  smartly  on  the 
floor.  Rise  again  on  the  palms  and 
again  let  the  abdomen  touch  the 
floor.  Repeat  five  times,  increasing 
each  day  the  number  of  times.  This 
is  an  excellent  exercise  to  promote 
intestinal  activity-  and  absolutely 
flatten  the  abdomen. 

2.  Stand  erect.  Stretch  the  arms  in 
front  of  the  body,  parallel  to  the 
floor.  Count  one  on  rising  to  the 
toes  while  lifting  the  arms  above  the 
head  and  inhaling  deeply.  Exhale 
while  returning  the  arms  to  their 
original  position.  Repeat  five  times, 
increasing  each  day  until  you  reach 
twenty-five.  This  is  splendid  for 
developing  the  neck  and  chest. 

3.  Stand  erect.  Extend  the  arms  in 
front  of  the  body  level  with  the 
shoulders,  the  palms  turned  down- 
ward. Keep  the  head  stationary. 
Kick  up  to  the  fingers,  first  with  the 
right  leg,  then  with  the  left.  Kick 
the  fingers  on  count  one,  return  to 
standing  position  on  count  two.-  This 
stretches  the  vertebra,  relieves  nerve 
strain  and  stimulates  circulation. 

4.  Stand  erect,  with  feet  together  and 
legs  stiff.  Place  the  hands  behind 
the  head  with  the  fingers  interlaced. 
Bend  the  body  slowly  sideways.  The 
movement  must  be  solely  with  the 
waist.  Keep  the  rest  of  the  body 
rigid.  This  quickens  the  liver  and 
kidneys. 

5".  Stand  erect,  feet  apart  and  extend 
the  hands  above  the  head,  palms  for- 
ward. On  first  count  lean  forward 
and  touch  the  left  toes  with  the  right 
hand.  Repeat  touching  the  right 
foot  with  the  left  hand.  This  will 
strengthen  flabby  abdominal  muscles, 
and  benefit  the  back  which  is  gen- 
erally unaccustomed  to  stooping. 

A  lot  of  people,  however,  don't  need  such 
strenuous  treatment.  A  gentle  toning  each 
day,  a  little  restraint  in  eating,  and  a  good 
stiff  workout  a  few  times  a  week,  will 
answer  their  needs. 

Here  is  the  routine  which  I  follow  myself 
and  this  is  sufficient  for  those  who  wish 
only  to  keep  their  weight  where  it  is. 

When  you  arise  in  the  morning,  drink 
two  glasses  of  hot  water.  This  promotes 
circulation  and  is  in  reality  an  internal 
bath. 


Costumes  from  Kaskel  &  Kaskel  Dunlap 

Because  Kotex  deodorizes  .  .  . 
is  inconspicuous  .  .  .  stays  light 
and  cool  for  hours  ...  it  is 
really  necessary  to  your  summer 
poise  and  comfort. 

DON'T  sacrifice  your  feminine  charm 
one  single  day  in  summer.  Kotex  pro- 
tects when  daintiness  is  especially  difficult. 

All  through  every  Kotex  pad  a  wonderful 
deodorant  is  sprinkled.  This  deodorant  is 
your  protection.  It  is  safe  and  gentle  .  .  . 
soothing,  even  . . .  yet  deodorizes  as  long  as 
the  pad  is  worn. 

Meantime,  Kotex  gives  a  degree  of  com- 
fort that  seems  almost  miraculous.  This  is 
largely  due  to  its  unique  filler,  Cellucotton 
(not  cotton)  absorbent  wadding. 

Preferred  by  hospitals 

Cellucotton  is  used  by  85%  of  America's 
leading  hospitals  because  of  its  many  advan- 
tages. It  is  not  cotton,  but  a  cellulose  sub- 
stance which  absorbs  five  times  as  much  as 
an  equal  weight  of  finest  cotton ! 

Do  you  realize  what  this  means?  It  means 
your  Kotex  pad  can  be  five  times  lighter  than 
any  cotton  pad,  and  give  equal  protection. 
Think  of  the  difference  in  summer,  when 
bulk  and  weight  are  so  trying. 

Kotex  keeps  its  original  delicacy  an  amaz- 
ing time.   It  is  made  of  sheer  layers,  laid 


lengthwise.  These  layers  permit  free  circu- 
lation of  air,  and  carry  moisture  quickly  away 
from  the  surface.  This  method  of  absorption 
is  important  both  to  comfort  and  hygiene. 

Round,  tapered  corners  keep  Kotex  always 
inconspicuous.  And  you  dispose  of  it  as  easily 
as  tissue.  Kotex  Company,  Chicago,  Illinois. 

piiiiiiiiiiiiiiiiiiiiiiiiiriiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiN 

IN  HOSPITALS 

1  ^  85$  of  ourleading  hospitalsuse  the  very  g 
g  same  absorbent  of  which  Kotex  is  made-  g 

I     2    Kotex  is  soft  .  .  .  not  a  deceptive  soft-  | 

ness  that  soon  packs  into  chafing  hard-  g 

1  ness.  But  a  delicate,  fleecy  softness  that  g 

g  lasts  for  hours.  1 

1  J  Safe,  secure  .  .  .  keeps  your  mind  at  § 
1  ease.  g 

|  4  Deodorizes  ...  safely,  thoroughly,  by  j 
1  a  special  process.  g 

I     ^    Disposable,  instantly,  completely. 

g  Regular  Kotex  — 45c  for  12 

=  Kotex  Super-Size  — 65c  for  12 

g  Also  regular  size  singly  in  vending  cabinets  g 

s  through  West  Disinfecting  Co. 


I Ask  to  see  the  KOTEX  BELT  and  I  m 
KOTEX  SANITARY  APRON  at  any  I  g 
drug,  dry  goods  or  department  store.  |  g 

PilllllllllllllllllllllllllllllllllllinillllllllllllllllllllllllM 

K  O  T  e  X 

The  New  Sanitary  Pad  which  deodorizes 


112 


SCREENLAND 


Next  do  two  hundred  bends.  This  is 
just  the  old  stunt  of  stooping  with  knees 
unbent  until  the  finger  tips  touch  the  floor. 
This  is  a  nice  exercise  to  do  with  your 
wife,  or  your  brother  or  sister.  Make  a 
game  out  of  it  and  see  who  beats. 

And  now  for  breakfast.  My  own  is  of 
crumbled  -  bran,  mixed  with  some  other 
cereal,  orange  juice  or  half  a  grapefruit  and 
a  cup  of  coffee.  But  you  can  have  an 
egg  if  you  like.  One  soft  boiled  egg,  two 
minutes;  or  one  scrambled  egg,  soft;  or 
a  one  egg  omelet.  And  you  can  substitute 
tea  for  coffee,  but  you  must  not  take  any 
cream  or  sugar.  That  comes  hard  at  first, 
but  later,  you'll  get  to  like  it.  During 
the  summer,  to  vary  your  breakfast  diet, 
you  can  have  some  sliced  fresh  fruit  on 
your  cereal.  But  be  sure  you  use  skim 
milk  over  it,  not  cream. 

Now  for  lunch.  A  cup  of  hot,  fresh 
spinach  soup,  one  slice  of  rye  bread  or 
whole  wheat  bread,  one  glass  of  buttermilk, 
and  asparagus  on  toast. 

You  may  vary  this,  however,  with  fresh 
tomato  soup,  made  with  skim  milk,  and  a 
small  salad  of  lettuce,  parsley  and  olives, 
or  you  can  take  one  cup  of  chicken  broth, 
cottage  cheese,  hearts  of  lettuce,  but  re- 
membering only  to  eat  one  slice  of  rye 
bread  (not  fresh)  with  any  of  these  three 
sample  luncheons. 

If  you  feel  you  must  have  meat,  take 
one  piece  of  calf's  liver,  not  too  well 
cooked,  one-half  of  a  tomato  sliced,  one 
piece  of  toast,  and  one  cup  of  tea.  Or 
if  you  prefer,  .sweetbreads,  broiled  on  toast, 
lettuce  with  French  dressing,  one  slice  of 
whole  wheat  bread,  and  one  cup  of  tea. 


Of  course,  by  dinner  time,  you'll  be 
pretty  hungry.  But  we  must  keep  this 
meal  down  if  we  want  to  keep  the  good  old 
waist  line  down.  I  should  suggest,  one 
cup  of  chicken  broth,  stewed  chicken 
boiled  with  onions,  parsley,  celery  and  pep- 
pers, chopped  very  fine,  fruit  salad,  con- 
sisting of  sliced  apples  and  pears  and 
almonds,  and  one  slice  of  whole  wheat 
bread. 

If  this  doesn't  appeal  to  you,  try  in  its 
place  one  cup  of  beef  broth,  one  thin  small 
slice  medium  rare  roast  beef,  with  creamed 
onions,  fresh  spinach,  hearts  of  lettuce,  and 
a  fruit  dessert,  sliced  pineapples,  sliced 
oranges  or  sliced  grapefruit. 

Should  this  not  hit  the  spot,  try  instead 
a  cup  of  asparagus  broth,  one  broiled  lamb 
chop,  two  if  small,  green  peas,  hearts  of 
lettuce,  toast,  sliced  peaches  or  strawberries, 
raspberries  or  blackberries,  according  to  the 
season. 

Perhaps,  though,  you'd  like  a  little  fish 
for  a  change.  If  so,  it's  all  right  to  have  a 
piece  of  broiled  or  boiled  fish,  sprinkled 
with  lemon,  and  served  variously  with  either 
clam  broth  or  green  vegetable  soup.  With 
the  fish  you  may  also  have  cauliflower, 
watercress  and  egg  salad,  and  fruit 
dessert. 

In  this  connection,  it  is  unnecessary  for 
me  to  add  that  no  alcohol  nor  ice  cream, 
cakes,  white  bread,  butter,  or  pies,  are 
allowed. 

Health  has  always  been  my  one  study, 
from  the  time  I  started  out  boxing  in  a 
barn  to  the  day  in  1905  when  I  won  the 


light  heavyweight  championship  of  the 
world,  through  the  exciting  period  when 
I  became  the  first  American  to  win  the  mid- 
dle and  heavyweight  championship  of  Eng- 
land, clear  up  until  today. 

Four  things  I  have  found  indispensable 
to  happiness  and  well-being.  They  are: 
exercise,  rest,  care  in  eating  and  cheer- 
fulness. 

Of  course,  there  are  people  who  will 
eat  a  half-pound  of  candy  and  gain  two 
pounds.  These  are  those  unfortunate  ones 
who  have  glandular  disturbances.  I  am 
neither  a  doctor  nor  a  scientist.  I  do  not 
claim  to  be  an  expert  on  pituitary  or  any 
other  kinds  of  glands.  But  this  much  I 
have  learned:  overaction  of  the  glands  can 
be  cured  by  moderate,  persistent  exercise. 
In  a  way,  the  same  is  true  of  heart  trouble. 
There  are,  naturally,  a  few  cases  of  organic 
heart  trouble  which  nothing  can  cure.  But 
there  are  many  kinds  which  are  greatly 
benefited  by  gentle,  consistent,  passive  ex- 
ercise. 

I  can  not  give  general  directions  for 
people  suffering  from  these  two  ailments 
but  if  you  will  write  me  or  come  to  see 
me,  .1  shall  be  only  too  glad  to  advise  you 
regarding  your  condition,  and,  to  let  you 
have  the  benefit  of  my  thirty-five  years' 
experience.  Health  and  beauty  like  most 
screen  stars  have,  are  both  within  the  reach 
of  nearly  every  person.  It  is  up  to  you, 
however,  whether  you  are  willing  to  under- 
go the  necessary  work  and  restraint  obli- 
gatory upon  the  permanent  possession  of  a 
beautiful  figure  like  Alice  White  or  Joan 
Crawford  or  Nancy  Carroll. 


WHAT  HAPPENED  TO  BARRY 

Continued  from  page  93 


I  am  sure  he  was  very  lonely  in  Hollywood 
before  his  'break.'  Few  unsuccessful  per- 
sons are  accepted  or  even  noticed  among 
the  cliques  of  the  film  colony.  An  Argen- 
tine boy  would  be  entirely  out  of  place. 
Naturally,  when  people  did  recognize  him, 
Barry  Norton  quickly  accepted  their  friend- 
ship. 

In  any  large  community  in  the  world 
there  are  certain  persons  who  attempt  to 
attach  themselves  to  the  young  and  suc- 
cessful. These  'friends'  have  their  jobs 
down  to  such  perfection  that  they  can  take 
everything  from  a  celebrity,  give  nothing 
in  return  and  make  the  celebrity  feel  grate- 
ful. Some  of  these  people  were  at  Barry's 
apartment  eating  his  dinners,  driving  his 
car  and  letting  him  pay  the  bills  at  night 
clubs.  And  Barry  liked  the  companionship 
and  gaiety  because  he  had  seen  none  for 
so  long. 

About  that  time,  the  gossips  began  to  tell 
of  Hollywood's  new  playboy.  One  famous 
reporter  wrote  a  syndicated  article  about 
Barry  Norton  saying  that  he  interviewed 
the  star  in  jail  when  he  was  there  on  a 
speeding  charge.  He  branded  the  boy  as 
'wild.'  The  writer  said  that  five  minutes 
after  he  was  out,  Barry  was  again  speed- 
ing at  fifty  miles  an  hour.  It  made  a  good 
story  at  Norton's  expense.  The  truth  is 
that  Barry  Norton  never  has  been  arrested 
for  speeding.  He  has  had  traffic  tags. 
Yes,  but  who  hasn't?  But  he  received  them 
because  he  didn't  know  the  regulations  and 
rules  of  North  American  traffic.  His  tags 
were  for  double  parking  and  not  stopping 


at  boulevard  stops.  He  was  in  the  police 
department  just  once  for  ten  minutes  when 
he  forgot  to  carry  his  driving  card.  And 
he  wasn't  interviewed  in  jail. 

Barry  went  from  one  picture  to  another. 
He  was  featured  in  "Mother  Knows  Best" 
and  "Four  Devils."  Paramount  thought 
enough  of  him  to  borrow  him  for  "The 
Legion  of  the  Condemned"  and  "Sins 
of  the  Fathers."  He  continued  playing  the 
same  abandoned  youth — a  wild  'mother's 
boy.'  He  didn't  like  the  parts  but  he 
was  happy  to  play  any  featured  role  after 
his  fight  for  extra  parts. 

After  the  advent  of  talking  pictures, 
Fox  let  Norton's  contract  expire  without 
renewing  the  option.  And  where  was 
Barry  Norton?  Paramount  didn't  rush  to 
grab  his  services.  Neither  did  any  other 
studio.  For  four  months  he  was  out  of 
work. 

During  that  time  Barry  became  acquainted 
with  Ramon  Pereda.  When  Paramount 
made  "The  Benson  Murder  Case"  in  Span- 
ish, Pereda  was  selected  for  the  part  played 
by  William  Powell  in  the  English  version. 
One  day  when  Barry  was  helping  Pereda 
by  translating  the  English  script  into  Span- 
ish and  explaining  the  situations,  an  assist- 
ant executive  of  Paramount's  foreign  de- 
partment came  to  Pereda's  house.  The 
assistant  noticed  Norton's  excellent  knowl- 
edge of  Spanish  and  suggested  that  he  try 
for  the  part  of  Mohler  in  the  foreign  ver- 
sion. Barry  was  given  a  test.  Besides 
testing  in  Spanish,  Barry  asked  if  he  could 
do  a  scene  in  English.     He  did  one  of 


Second  Lieutenant  Raleigh's  scenes  from 
"Journey's  End."  B.  P.  Schulberg,  gen- 
eral manager  of  Paramount  west  coast  pro- 
duction, saw  the  test  and  not  only  authorized 
Norton  for  the  part  but  gave  him  a  long- 
term  contract.  By  the  new  agreement, 
Norton  can  appear  in  English,  French  and 
Spanish  pictures. 

One  reads  about  the  reformation  of  this 
actor  and  that  actress  in  Hollywood.  But 
this  is  not  the  reformation  of  Barry  Nor- 
ton. Barry  has  struck  his  feet  down  to 
hard  rock.  There  isn't  going  to  be  any 
transformation.  He  is  showing  and  has 
been  showing  for  the  last  four  months  what 
sort  of  a  person  he  really  is.  He  has 
courage  and  persistence.  These  are  the 
qualities  which  are  helping  him  now. 

Barry  Norton  has  learned  a  lot  of  things 
in  the  last  few  years — about  Hollywood 
and  life  in  particular.  Many  things  have 
happened  in  the  four  months  he  waited 
for  work.  He  has  few  friends  now.  He 
doesn't  need  them.  He  goes  to  shows  alone. 
He  swims  and  rides  horseback  alone.  But 
don't  think  that  Barry  is  lonely  these  days. 
He's  having  the  best  time  of  his  life. 

Nothing  is  allowed  to  stand  in  the  way 
of  his  career.  He  hasn't  been  assigned 
to  an  English-speaking  part  as  yet.  But 
he's  waiting  for  the  part  to  come.  And 
it  will  be  a  very  safe  bet  that  his  perform- 
ance will  be  one  of  the  best  of  the  year. 


for    August    19  30 


113 


THE  STAGE  IN  REVIEW 

Continued  from  page  97 

double  entendres  and  things  like  that  that 
happen. 

There  are  many  chuckles  in  this  comedy; 
but  my  regret  is  that  there  might  have 
been  more.  Cecelia  Loftus,  Ferdinand 
Gottschalk  and  Sidney  Fox  were  the  gold 
medalists  (especially  this  beautiful  little 
Fox  girl,  a  newcomer  of  which  we  shall 
hear  more). 

No,  Linda,  "Lost  Sheep"  is  no  good  for 
the  picture  trade — not  while  your  Uncle 
Will  and  the  ladies'  clubs  are  awake! 
"Virtue's  Bed" 

This  play  by  Courtenay  Savage  might 
have  been  called,  a  la  Nietzsche,  "The 
Eternal  Return." 

No  one — I  least  of  all — would  have  be' 
lieved  that  an  old  sex  pot-boiler  of  the  good 
old  days  of  Bill  McKinley  could  have  been 
revamped  in  1930,  put  on  Broadway,  and 
not  only  made  interesting  and  even  grip- 
ping but  a  box-office  winner  to  boot! 

Just  shows  that,  strictly  speaking,  we 
know  nothing  of  the  Public,  its  whims  and 
whams. 

The  play  opens  in  Northern  Africa,  on 
the  roof  of  a-a-a-a-a-well,  another  house -of 
ill-repute.  Eileen  Gregory,  a  New  England 
girl  (played  strenuously  by  Ara  Gerald), 
is  about  getting  away  with  the  idea  of 
going  respectable  in  dear  old  England 
(where,  she  is  told  by  a  Major,  nothing 
changes — therefore,  she  could  not  get  away 
with  it). 

The  second  and  third  acts  take  place  in 
the  heart  and  fifth  rib  of  the  Upper  Clahs- 
ses,  where  Eileen,  to  test  the  old  Mrs. 
Tanqueray  theory,  comes  across  cold  turkey 
to  her  aristocratic  friends  about  the  past. 

Well,  the  Major  (and  old  man  Pinero) 
were  right.  They  leave  her  flat,  and  she 
goes  off  to  South  America  with  the  Major, 
where  they  no  doubt  open  up  a  night  club 
or  a  tango  dump. 

But,  somehow,  you  don't  walk  out  on 
this  old  lady  of  the  nineties.  Memories  of 
Paula  Tanqueray  and  Mrs.  Dane  keep  us 
glued  fast. 


WOOLSEY 

Continued  from  page  55 

Yes  suh,  I  takes  care  of  all  his  clothes. 
He  don't  do  much  dressin'.  Most  of  the 
time  he  runs  around  in  an  old  sweater 
and  last  year's  pants.  Yes  suh,  Mss  Minnie 
is  always  pickin'  on  him  'bout  that. 

Yes  suh,  he  plays  golf.  Well,  I  don't 
know  'bout  that.  When  I  fetch  him  from 
the  course  he's  usually  in  a  bad  humor. 
He's  always  sayin'  to  the  boys  he  plays 
with,  "You're  two  up,"  and  "You're  four 
up"  and  so  on.  Mr.  Bobby  always  down, 
I  know  that. 

Yes  suh,  he  always  goes  to  the  prize 
fights.  Next  day  he  talks  'bout  upper  cuts 
and  left  hooks.  I  don't  know  what  he's 
talkin'  'bout  half  the  time.  Nobody  pays 
him  any  'tenshun,  anyhow.  That's  his  big 
worry,  I  think — nobody  payin'  him  any 
mind.  I  know  he's  always  pickin'  on  me 
for  that. 

Me?  Oh,  yes  suh,  I  has  ambitions.  Yes 
suh,  of  course  I'd  hate  to  leave  Mr.  Bobby, 
cause  he'd  be  like  a  lost  dog  in  a  meat 
house  'thout  me — but  I'm  not  gwine  to 
be  an  actor's  valet  all  my  life.  No  suh, 
indeedy! 

Well,  suh,  I  reckon  I'd  ruther  be  a 
newspaper  'porter! 


the  Kleenex  way  to 


remove  co 


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cream 


KLEENEX  makes  it  so  pleasant  to  care  for 
your  skin  the  proper  way!  With  this 
smart  box  filled  with  exquisite  tissues  on  your 
dressing  table,  you'll  never  be  tempted  to  use 
a  towel  to  wipe  away  cold  cream !  You'll  never 


think  of  rubbing  your  delfcate  skin  with  a 
germ-laden  "cold  cream  cloth." 

And  do  you  know  how  dangerous  these 
wrong  methods  can  be?  An  unabsorbent 
cloth  or  towel  leaves  part  of  the  cold  cream 
in  the  pores,  and  with  it  tiny  bits  of  dirt  and 
cosmetics.  That's  what  starts  pimples  and 
blackheads ! 

Even  hard  rubbing  can't  remove  all  the 
impurities,  when  you  use  an  unabsorbent 
cloth.  And  this  hard  rubbing  is  injurious. 
Stretches  the  skin.  Relaxes  it.  And  so  in- 
duces large  pores  and  premature  wrinkles. 

Kleenex  just  can't  irritate  in  any  way.  It's 
so  soft,  so  readily  absorbent.  It  blots  up 
every  bit  of  surplus  cream,  and  lifts  impuri- 
ties from  the  pores. 

More  and  more  people  are  using  Kleenex 
for  handkerchiefs.  It's  especially  valuable 
for  colds,  to  avoid  reinfection.  Kleenex 
comes  in  pure,  lovely  tints  and  white,  at  drug 
and  department  stores. 


Kl 


a 


eenex  Cleansing  Tissues 

TO  REMOVE  COLD  CREAM. 


"I  USE  KLEENEX  for  removing  cold  cream 
because  the  tissues  are  so  very  absorbent  that 
rubbing  is  unnecessary." 


•>  

Kleenex  Company,  Lake-Michigan  Bldg.. 
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114 


REMOVES 
..HAIR 

as  if  by  Magic 

Imagine  the  joy  of  having  Satin-Smooth 
Skin — free  from  the  Blemish  of  Hair. 

It  is  so  easy  when  you  use  the  delicately 
perfumed,  liquid  De  Miracle.  You  Can 
Actually  Wash  Away  Unwanted  Hair! 

Just  sponge  the  unsightly  growth  with 
De  Miracle  and  rinse  with  clear  warm 
water.  You  can  see  the  hairs  dissolve. 

IT  SOUNDS  LIKE  MAGIC !  YET  THAT  IS  EX- 
ACTLY WHAT  HAPPENS. 

No  razors,  no  pastes,  no  waxes,  no  powders 
to  mix.  The  hair  is  washed  away,  quickly, 
safely — and  not  only  that  but  De  Miracle 
retards  the  reappearance  of  hair,  and  posi- 
tively will  not  coarsen  the  growth. 

It  is  so  important  to  have  hair- free  skin 
under  sheer-silk  stockings,  when  you  wear 
evening  dress,  or  bathing  suit.  Every  fastidi- 
ous woman  must  use  De  Miracle — and  it 
is  the  "only"  liquid  depilatory  you  can  buy! 

Sold  everywhere:  60&  $1.00  and  $2.00.  If 
you  have  any  difficulty  obtaining  it,  order 
from  us,  enclosing  $1.00.  De  Miracle, Dept. 
D-3  ,  138  W.  14th  Street,  New  York  City. 

De31Hracfe 

WASHES  AWAY  HAlk 


BUILDING  FOR  BEAUTY 

blistered  skin  with  its  attending  discom- 
forts will  render  null  and  void  all  benefits 
derived  from  the  sun-bath. 

Building  for  beauty  includes  the  acquisi- 
tion of  grace,  poise  and  self-control.  It 
has  been  said  that  the  American  woman  is 
beautiful  until  she  walks  across  a  room. 
And  true  it  is,  that  it's  usually  the  woman 
with  the  graceful  carriage,  not  the  girl  with 
the  pretty  face  who  catches  the  eye  of  the 
observant  audience  in  Peacock  Alley. 

It's  only  a  year  or  so  ago  that  I  tried 
to  impress  my  readers  with  the  fact  that 
the  short,  narrow  skirts  and  straight  line 
dresses  emphasized  poor  carriage,  lack  of 
poise  and  grace  more  than  any  costume 
since  the  days  of  the  Directoire-  But  now, 
we  have  the  flowing  skirts,  ruffles  and  laces 
supposed  to  lend  grace  to  awkward  move- 
ments and  they  don't  at  all.  In  fact,  it's 
only  too  apparent  that  with  the  styles  so 
reminiscent  of  curls  and  curtsies,  ruffles  and 
romance,  awkwardness  and  ungraceful  car- 
riage are  decidedly  out  of  place. 

A  good  carriage  is,  consequently,  of  more 
moment  now  than  ever  before.  You  marvel 
at  the  way  your  favorite  movie  stars  walk 
and  move.  You  admire  one,  perhaps,  for 
her  lightness  of  step,  her  freedom  of  move- 
ment; another  for  her  stately  grace,  the 
way  she  holds  her  head,  a  posture  correct 
without  being  stiff  or  ungraceful.  Were 
they  all  born  that  way,  or  did  they  acquire 
this  grace? — you  ask.  I  don't  know,  but 
this  I  do  know.  Either  they  are  holding 
on  to  something  with  which  they  were 
born;  or  they  have  worked  hard  to  obtain 
something  they  did  not  have  originally. 
In  either  case,  they  have  worked.  Which- 
ever way  it  is,  it  is  worthy  of  emulation. 

Make  your  playtime  hours  count,  but 
don't  expend  twice  as  much  energy  as  is 
necessary  in  your  play.  Not  only  is  it 
tiring,  but  it  takes  from  your  grace  of 
movement.  Awkwardness  is  caused  by 
liberating  more  energy  than  is  necessary  to 
accomplish  the  action- 

For  example:  Watch  the  way  a  cat 
walks  across  the  room.  She  uses  just 
enough  energy  to  carry  her  to  her  destina- 
tion. She  doesn't  waste  it  by  placing  her 
foot  down  with  such  force  that  you  hear 
the  click  of  her  paws  as  you  would  the 
heels  of  a  woman.  Her  purpose  is  to  walk 
across  the  floor,  not  make  an  imprint  upon 
it.  I  suggest  that  you  emulate  the  cat's 
unself-consciousness  and  her  grace-  Every 
one  of  her  motions  are  automatically  ad- 
justed in  the  amount  of  force  to  be  ex- 
pended to  do  the  thing  she  wants  to  do. 
It  is  owing  to  this  perfect  adjustment  that 
the  cat  has  been  the  symbol  of  litheness 
and  grace  since  the  days  of  the  Egyptians. 

Practise  the  art  of  coming  quietly  into 
a  room  as  if  you  knew  where  you  were 
going.  Don't  sit  down  'all  in  a  lump'  but 
keep  the  middle  of  your  back  against  the 
back  of  your  chair.  Remember  to  relax 
your  muscles.  If  you  stand  with  your 
muscles  taut,  you  will  look  wooden  and 
stiff.  Stand  straight,  but  let  your  arms 
hang  at  your  sides,  palms  to  the  back. 
When  you  sit,  let  your  hands  rest  in  your 
lap,  palms  down. 

Walking  is  one  of  the  best  forms  of 
exercise.  No  matter  what  the  weather,  a 
brisk  tramp  is  good  for  the  health,  the 
spirits  and  the  complexion;  and  it's  a  fine 
medium  for  acquiring  the  habit  of  correct 
carriage  and  posture.  Don't  walk  any  old 
way,  trudging  along  with  slumped  shoulders 
and  drooping  head.     Keep  your  head  up, 


SCREENLAND 

—  Continued  from  page  91 

your  chin  in,  your  chest  out,  the  abdomen 
back.  Walk  on  the  balls  of  your  feet, 
lightly.  This  makes  you  graceful  and  with- 
out apparent  weight. 

In  carrying  an  umbrella  or  package, 
watch  your  elbows.  If  they  stick  out,  you 
have  made  unnecessary  angles  and  it  makes 
you  look  aggressive,  as  though  you  were 
getting  ready  to  shove  some  person  out  of 
your  path.  Hold  your  elbows  as  an  athlete 
holds  his,  close  to  the  body.  And  don't  use 
your  arms  to  propel  your  body.  Don't 
swing  them  back  and  forth  and  don't 
swing  your  shoulders  from  side  to  side — 
a  movement  that's  quite  as  awkward  as 
swinging  the  arms,  and  in  either  case  you're 
expending  twice  as  much  energy  as  is 
necessary. 

In  the  large  cities  there  are  salons  where 
one  may  go  and  submit  to  the  trained 
ministrations  of  physical  experts  whose  busi- 
ness it  is  to  correct  posture,  to  keep  bodies 
slim,  straight  and  lithe.  In  one  of  the 
attractive  exercise  rooms  you  may  undergo 
massage  or  exercise  strenuously  and  go  forth 
eager  and  refreshed,  resolved  to  keep  up 
the.  routine  of  exercise  prescribed. 

One  salon  gives  chin  exercises,  exercises 
for  reducing  large  arms  and  shoulders,  large 
bust  and  hips,  and  for  overcoming  constipa- 
tion. There  are  rooms  for  sun  baths,  for 
electrical  treatments,  for  body  massage- — 
everything  health-giving,  body-building,  and 
beautifying.  And  a  little  book  written  by 
the  clever  young  woman  who  built  up  this 
successful  business  contains  numerous  ex- 
ercises, carefully  described  and  illustrated, 
charts  of  the  proper  proportions  and  for 
the  various  heights  and  ages  of  women,  also 
practical  advice  on  reducing  diets. 

Not  everyone  can  reach  a  good  salon, 
but  in  almost  every  town  there  is  some 
kind  of  gymnasium  with  some  one  in  it 
who  can  help  you  a  little,  at  least.  And 
there  is  always  the  radio  with  its  very 
complete  system  of  exercises.  Suppose  you 
do  have  to  get  up  fifteen  minutes  earlier 
in  the  morning.  It  is  well  worth  it.  Just 
try  it  some  morning,  and  see. 

Remember,  when  you  exercise,  that  the 
idea  is  not  to  become  acrobatic,  but  live 
and  supple,  so  be  sure  that  the  muscles  are 
relaxed.  Take  your  exercises  lying  down 
if  possible.  Practise  the  stretching  exer- 
cises I  gave  you  a  month  or  so  ago,  and 
if  you  want  more,  I'll  send  them.  We 
need  quickened  circulation  but  we  also  need 
relaxation-  Tumble  about  in  your  room  to 
slow  lazy  music.  Do  exercises  on  the  sandy 
beach,  on  the  roof,  or  around  the  swim- 
ming pool,  wherever  you  happen  to  be, 
every  muscle  relaxed. 

Here  are  a  few  excellent  exercises  that 
may  be  done  any  time,  any  place,  and  will 
help  to  keep  the  body  slim  and  elastic. 

Stand  erect,  with  hands  clasped  over 
head,  then  sway  from  side  to  side,  moving 
from  the  hips  upward  until  you  feel  a 
good  pull  on  the  side  waist  muscles.  Repeat 
ten  times.  In  the  same  position,  with  arms 
stretched  wide  at  sides,  swing  the  body 
from  the  waist  as  far  to  the  right  and  to 
the  left  as  you  comfortably  can. 

Bending  exercise:  With  hands  on  the 
hips,  bend  backward,  then  forward,  then 
alternating  left  and  right.  Then,  try  this 
standing  on  one  foot,  letting  the  other  foot 
swing  with  the  motion  of  the  body. 

Back-bending  exercise:  Raise  arms  above 
head,  keeping  elbows  straight.    Sweep  them 


for   August  1930 


115 


forward  and  down  until  they  touch  the 
floor.  Try  this  at  first  with  the  knees 
slightly  bent,  and  work  up  to  a  point  where 
you  do  not  need  to  bend  them  at  all. 

Deep  breathing  is  such  a  hobby  with  me 
I  can't  refrain  from  telling  you  again  about 
it.  This  is  an  ideal  outdoor  exercise.  With 
hands  raised,  palms  outward,  inhale  deeply, 
counting  ten.  Hold,  count  ten,  exhale, 
count  ten.  Or,  clasp  the  hands  behind 
the  head,  the  palms  supporting  it,  and 
with  the  chest  thrust  forward,  exhale  as 
advised.  If  this  causes  giddiness,  count 
but  four  and  gradually  increase  the  counts 
to  ten,  even  to  twenty.  Acquire  the  habit 
of  breathing  deep  while  you  walk,  play, 
sit  and  stand  in  the  open  air. 

Of  course,  too,  you  must  give  attention 
to  your  external  appearance.  Meaning  hair 
and  faces,  hands  and  arms.  If  you're  one 
who  looks  well  with  straight  hair  or  if 
your  hair  is  naturally  wavy,  you're  in  luck 
— and  such  luck!  But  if  you're  one  who 
looks  'terrible'  with  straight  hair,  get  a 
permanent,  particularly  if  you  are  to  be  at 
the  seashore  swimming  a  lot,  or  in  some 
spot  remote  from  hair-dressers.  Go  to  a 
good  operator  and  be  sure  that  your  hair 
is  in  good  condition  and  will  take  a  per- 
manent  well.  After  you  get  it,  care  for 
your  hair  just  as  you  did  before.  Have  on 
hand  a  wave-setting  lotion  and  set  of  combs 
and  you  can  do  the  re-setting  yourself. 

Hands  are  conspicuous  with  the  summer 
frocks  so  keep  them  as  nice  as  you  can. 
And  if  hands  are  conspicuous,  what  about 
the  arms?  Elbows,  especially,  have  such  a 
propensity  for  getting  leaned  on,  bumped, 
grimy  and  rough.  We're  all  in  favor  of 
pretty,  dimpled  elbows,  but  how  many  do 
we  actually  see?  The  trouble  is,  we  pay 
so  little  attention  to  them,  and  all  they 
need  is  a  nightly  scrubbing  and  a  good 
cold-creaming.  If  they  are  dark-colored, 
use  a  good  bleach  on  them  every  night- 
During  the  day,  when  you  use  a  lotion 
after  washing  the  hands,  rub  it  into  the 
arms  and  well  into  the  elbows. 

When  it  comes  to  make-up,  don't  use 
too  much.  The  healthy,  glowing,  out-door 
look  is  far  more  attractive,  especially  in 
daytime;  that  is,  if  you  have  given  your 
skin  protective  care  and  have  not  allowed 
it  to  become  red,  rough  and  weather-beaten. 
If  you  are  tanned,  and  like  the  sun-tan 
make  up  and  find  it  becoming,  then  use 
it,  particularly  for  daytime.  It  goes  well 
with  sports  things  and  is  natural  in  appear- 
ance if  correctly  used.  But  for  formal 
wear,  and  with  evening  gowns,  a  daintier 
make-up  is  more  desirable.  Use  a  rachel 
or  peach  or  cream  powder  according  to  the 
shade  your  skin  has  acquired,  with  your 
natural  coloring  accented  just  a  bit.  For 
your  arms  and  shoulders,  and  your  neck 
if  necessary,  a  liquid  powder,  not  white 
but  toned  to  your  skin,  gives  the  desired 
finish. 

Beauty  of  face  is  more  or  less  ephemeral, 
but  beauty  of  figure  and  line,  a  poise  of 
body  and  spirit,  have  something  of  the 
eternal  about  them.  Many  requests  have 
come  to  me  for  exercises  of  various  sorts. 
I  have  tried  to  give  you,  here,  suggestions 
for  exercises  and  outdoor  activities  that  will 
help  you  to  build  for  beauty.  This  is  well 
worth  working  for,  girls,  and  if  I  can 
advise  you  about  special  problems,  whether 
they're  faces,  figures  or  personalities,  write 
to  me  about  them  and  I'll  do  my  best  to 
help.  Address  Anne  Van  Alstyne,  Screen- 
land  Magazine,  45  West  45th  Street,  New 
York  City.  Please  enclose  stamped,  ad- 
dressed envelope  for  reply- 


results  are  immediate  .  .  .  . 
the  easy,  delightful 
way  to  keep  your  skin 
soft,  smooth  and  silky 


ITlerely  dissolve  half  a  package  of 
Unit  in  your  bath  —  then  en|oy  the 
soothing  sensation  of  a  rich,  cream- 
like bath— and  feel  your  skin.  It  is  like 
rare  velvet. 

After  a  luxurious  Unit  Beauty  Bath 
you  instantly  "feel"  the  results— your 
skin  is  unusually  soft  and  delightful  to 
the  touch. 

Which  explains  why  the  Linit  Beauty 
Bath  is  so  popular  among  thousands 
of  fastidious  women. 


After  your  Unit  Bath,  powder- 


LINIT 


ing  is  unnecessary,  as  Linit  leaves  just 
the  right  amount  of  powder  on  the  skin, 
evenly  spread.  You  will  find  that  Linit 
adheres  well,  absorbs  perspiration 
without  caking  and  eliminates  "shine" 
on  body,  hands  and  face. 

Harmless  and  Refreshing 

Starch  from  corn  is  the  main  in- 
gredient of  Linit  and,  being  a  pure 
vegetable  product,  is  absolutely  harm- 
less to  even  the  most  delicate  skin. 
White  is  the  natural  color  of  Linit— it  is 
not  disguised  by  color  or  odor. 


>  is  sold  by  your  GROCER^ 

the  bathway  to  a  soft,  smooth  skin 


116 


ANITA  PACE . . .  M  G-M  STAR 

Like  the  Screen  Stars... 

Have  YOUR 
MAKE-UP 

In  Color  Warmony 

Accept  This  Priceless  Gift . . .  Your 
Complexion  Analysis  and  Make -Up 
Color  Harmony  Chart . . .  From  Maxi 
Factor,  Hollywood's  Make -Up 
Genius.  See  Coupon  Below! 

C  OR  the  stars  of  Hollywood,  Max  Factor,  Filmland's  Make-Up 
*•  Genius,  created  a  new  kind  of  make-up  for  every  day  and 
evening  use.  A  make-up  ensemble . . .  powder,  rouge,  lipstick  and 
other  essentials . . .  blended  in  color  harmony.  Cosmetics  in  lifelike 
color  tones  to  harmonize  with  every  variation  of  complexion  coloring 
in  blonde,  brunette  and  redhead. 

Based  on  a  Famous  Discover/ 

In  millions  of  feet  of  film ...  in  hundreds  of  feature  pictures,  you, 
yourself,  have  seen  the  magic  of  make-up  by  Max  Factor.  You  have 
seen  the  beauty  magic  of  his  famous  discovery . . .  cosmetic  color 
harmony.  Under  the  blazing  Kleig  lights,  Max  Factor  discovered 
the  secret . . .  make-up  to  enhance  beauty  must  be  in  color  harmony. 

Now. . .  a  Make -Up  Color  Harmony  for  You 

So  this  principle  of  cosmetic  color  harmony,  Max  Factor  ap- 
plied to  make-up  for  day  and  evening  use.  Revolutionary  .... 
Max  Factor's  Society  Make-Up  created  a  sensation  in  Hollywood. 
Leading  stars  ....  May  McAvoy,  Marion  Davies,  Betty  Compson, 
Joan  Crawford  ....  adopted  it. 

Now  you  may  leam  this  priceless  beauty  secret.  Max  Factor 
will  analyze  your  complexion  and  send  you  your  make-up  color 
harmony  chart ....  free.  And  you'll  discover,  whether  you're 
blonde,  brunette  or  redhead,  whatever  your  type  . . . 
the  one  way  to  really  reveal,  in  the  magic  setting 
of  beauty,  the  alluring,  fascinating  charm  of  your 
personality.   Mail  Coupon  NOW! 

MAX  FACTOR'S 
SOCIETY  MAKE-UP, 

"Cosmetics  of  the  Stars 
HOLLYWOOD 

BESSIE  LOVE 

M-G-M  Star  and  Max  Factor, 
Filmland's  Make-Up  Get 

MAIL  FOR  YOUR  COMPLEXION  ANALYSIS^ 

Mr.  Max  Factor  —  Max  Factor  Studios,  Hollywood,  Calif.  4-8-14 
Dear  Sir:  Send  me  a  copy  of  your  48-page  book,  "The  New  Art  of  Society 
Makf-Vp";  personal  complexion  analysis;  and  make-up  color  harmony 
chart,   I  enclose  10  cents  to  cover  cost  of  postage  and  handling. 


COMPLEXION 

COLOR  OF  EYES 

LIPS 

Light 

Moist 

Fair 

COLOR  OF  LASHES 

Dry 

Medium 

SKIN 

Ruddy 

COLOR  OF  HAIR 

Oily 

Dark 

Dry 

Sallow 

AGE  1 

Normal 

Olive 

Answer  with  check  mark 

Name  

.Address  

City  and  State  _ 


SCREENLAND 

WHAT  KEEPS  THE  TALKIES  TALKING? 

Continued  from  page  65 


system.  Which  even  anticipates  how  a  re' 
mote  theater  shall  be  reached  in  time  of 
trouble.  Thus,  when  the  Baltimore  office 
of  the  Western  Electric  installed  equipment 
in  the  New  Theater  at  Easton,  Maryland, 
it  was  foreseen  that  the  airplanes  would  be 
.the  solution  to  that  particular  job  in  an 
emergency.  Out  on  a  tip  of  the  Eastern 
Shore,  Easton  is  300  miles  from  Baltimore 
by  land  or  water,  but  only  forty  miles  by 
air.  Arrangements  were  made  to  have  a 
plane  ready  at  all  times.  Six  months  went 
by  and  everything  was  peaches  down  on 
the  Eastern  Shore.  But  that  theme  song 
ended  abruptly  one  afternoon.  ERPI  took 
the  emergency  in  its  stride,  every  move 
plotted,  like  a  platoon  of  West  Pointers 
doing  squads  right. 

In  midwinter,  up  in  North  Dakota,  the 
ERPI  men  mush  on  like  Nanook  of  the 
North.  And  in  some  places  they  wade 
through  more  mud  than  the  book  censors. 
Just  so  you  and  the  boy  friend  can  keep 
the  big  date  at  the  pet  theater. 

Of  course,  the  emergency  call  is  the  most 
spectacular  performance  of  Western  Electric 
men  in  the  field.  Yet  every  day  in  the 
course  of  routine,  they  are  fighting  dramatic 
battles  with  sound  problems  and  freak 
acoustical  properties  in  theaters. 

We  play  everything  by  ear  in  our  pic 
ture  theaters  now,  but  naturally,  most 
theaters  were  built  before  Al  Jolson's  sound 
waves  from  "The  Jazz,  Singer"  and  "The 
Singin'  Fool"  inundated  them.  Some 
theaters  can  be  hitched  to  sound  without 
kicking,  but  many  of  them  buck,  squeal 
and  snort  until  tamed. 

For  instance,  sound  travels  at  the  rate 
of — well,  anyhow,  it  .travels.  Ever  hear  an 
echo?  That's  sound  on  a  return  trip.  In 
a  talkie  theater,  when  sound  travels,  it 
goes  places  and  does  things.  It  likes  walls, 
so  when  it  comes  out  of  the  horns  behind 
the  screen,  it  makes  a  bee  line  for~all  walls. 
Then  what?  If  it's  a  hard  wall  it  bounces 
back.  The  harder  the  wall  the  harder 
sound  bounces  back. 

This  rubber  ball  business  gives  what 
ERPI  and  I  call  reverberation.  Now,  like 
paprika,  a  little  reverberation  goes  a  long 
way.  We  do  a  lot  of  our  talking  in  rooms 
so  our  ear  is  used  to  a  certain  amount  of 
reverberation — there  being  walls,  ceilings, 
chairs  and  things  in  most  rooms  for  sound 
to  do  its  bouncing  act  on.  In  other  words, 
if  our  ear  didn't  get  its  normal  reverbera' 
tion  ration,  whatever  it  heard  -wouldn't 
sound  natural. 

You  get  the  idea  immediately.  Western 
Electric  and  ERPI  have  to  leave  just  enough 
hardness  in  the  theater  walls,  so  that  sound 
can  bounce  sufficiently  for  your  ear  to  feel 
right  at  home.  And  what  do  the  engineers 
do  when  they  find  theaters  with  too  hard 
walls — you  know — the  skin  sound  loves  to 
touch — too  much?  They  drape  'em.  They 
hang  draperies  around  the  walls,  just 
enough  to  humor  ■  sound  in  the  bouncing 
game  it  learned  in  kindergarten — and  to 
please  your  ear. 

And  the  nice  part  of  it  is  that  Western 
Electric  has  figured  out  mathematically  the 
sound  absorption  qualities  of  various  drape 
materials.  So  that  they  can  tell  how  much 
sound  a  square  foot  of  a  given  material  can 
blot  up. 

And  after  that  can  the  engineers  go  back 
to  their  office,  put  their  feet  up  on  the 
desk  and  play  executives?  Not  at  all.  The 
battle  has  just  begun. 

Some  theater  walls  are  soft  and  must  be 


stiffened  up.  Here  again  mathematics  enter 
the  picture.  Then,  too,  there  are  all  kinds 
of  tricky  alcoves,  pieces  of  statuary,  and 
bits  of  bric-a-brac  about  which  sound  loves 
to  play  hide  and  seek.  Accompanying  this 
brainstorm  is  a  picture  of  part  of  the  in- 
terior of  Loew's  Granada  Theater  in  Cleve- 
land. It  is  a  good  example  of  the  many 
surfaces  with  which  sound  likes  to  keep  a 
rendezvous.  Within  a  small  space  there 
is  a  statue  of  Bacchante,  the  lady  of  the 
grapes,  a  couple  of  winged  lions,  a  flock 
of  vases,  eighteen  different  kinds  of  wrought 
iron,  concrete,  stucco,  numerous  alcoves, 
and  a  young  forest. 

Just  imagine  the  fun  sound  would  have 
bouncing  from  Bacchante  to  the  lions,  rust- 
ling through  the  leaves,  and  back  to 
Bacchante  again.  But  Western  Electric 
knows  that  all  play  and  no  work  makes 
sound  a  dull  boy.  So,  as  you  can  see,  they 
drape  the  wall  on  the  right,  and  give  sound 
just  enough  power  so  that  when  it  arrives 
in  Bacchante's  garden  it  gives  her  just  a 
nice,  soft  caress. 

It  may  not  surprise  the  girls  to  learn 
that  sound  has  a  greater  affinity  for  them 
than  for  the  boys.  A  theater  full  of  women 
make  a  better  talkie  audience  than  a  theater 
full  of  men.  Yep,  sound  loves  the  ladies. 
The  engineers  call  it  'better  sound  absorption 
qualities.'  Which  means  that  sound  can  do 
his  stuff  better  when  the  ladies,  God  bless 
'em,  are  present.  Richard  Dix  sounds  better, 
and  so  does  Paul  Whiteman's.  orchestra. 

Happily,  a  full  theater  makes  a  better 
show  than  an  empty  house.  The  owner  of 
your  favorite  theater  shakes  hands  with 
Western  Electric  on  that. 

Around  the  clock,  as  the  theater  fills  and 
empties,  the  operator  up  in  the  projection 
booth  is  kept  advised  by  'phone,  or  buzzer, 
just  how  the  house  is  filling  up,  and  in 
what  parts.  He  regulates  the  volume  of 
sound  accordingly.  All  of  the  controls  are 
under  his  thumb — figuratively  speaking — 
for  he  needs  about  ten  thumbs  at  all  times. 
The  wires  run  from  his  booth  around  the 
walls  or  across  the  ceiling  back  stage  to  the 
screen.  Right  behind  the  screen  are  the 
horns.  These  loud  speakers  are  behind  the 
screen  and  nowhere  else  in  the  house.  They 
are  so  placed  to  keep  the  illusion  of  the 
voice  coming  from  the  screen.  If  you  saw 
Bill  Haines'  lips  move  on  the  screen  and 
heard  his  voice  from  somewhere  in  the 
balcony,  you'd  say  it  was  another  Bill 
Haines  trick.  But  if  Ruth  Chatterton  did 
it,  you  wouldn't  care  for  it. 

Also,  they  have  now  discovered  that  an 
even  better  effect  is  gained  if  the  horns  are 
placed  behind  the  upper  half  of  the  screen. 
So  that  when  Joan  Crawford  talks,  you 
don't  hear  her  voice  coming  from  some- 
where down  around  her  ankles.  Of  course, 
Joan's  legs  talk  but,  well,  you  get  what  I 
mean. 

All  kinds  of  electrical  interlopers  try 
to  crash  the  gate  when  a  talkie  show  is  on. 
Can't  blame  them  if  Nancy  Carroll  is  on 
the  screen,  but  still  they  don't  belong  and 
they  throw  a  monkey  wrench  into  the  ma- 
chinery. For  instance,  a  theater  in  Wash- 
ington, D.  C,  was  playing  "Such  Men 
Are  Dangerous"  recently.  Suddenly,  for 
no  reason  at  all,  a  low  moaning  negro 
spiritual  was  heard  coming  from  the  screen. 
It  was  like  a  ghost  song,  giving  a  weird 
background  to  the  dialogue.  It  did  not 
belong  in  the  picture  and  its  phantom 
quality  created  an  uneasy  atmosphere  in 
the  theater.    Especially  among  the  negroes 


for    August  2930 


117 


^Miich  theatre  tonight? 


M  the  EAR  TE  ST 

decide .  .  . 


Wear  talking  pictures  reproduced  NATURALLY 
....  look  Jbr  this  sign  in  the  lobby 


"That's  my  favorite  theatre  too.  Their 
talkies  always  sound  so  natural." 

You'll  say  the  same  thing  about  theatres 
equipped  with  the  Western  Electric  Sound 
System.  It  is  made  by  the  makers  of  your 
telephone — people  who  for  more  than  50 
years  have  known  how  to  build  good  sound 
reproducing  apparatus. 


Westerti 


SOUND 


Don't  simply  ask  what  picture  is  playing 
or  who  is  the  star.  Select  your  theatre  by 
EAR  TEST.  Enjoy  all  the  art  that  pro- 
ducers and  actors  put  into  the  dialogue  and 
the  music. 

Find  out  which  houses  in  your  neighbor- 
hood are  using  Western  Electric  equipment 
— look  for  the  identifying  sign  in  the  lobby. 


^Electric 


Northern   Electric   in  Canada 


SYSTEM  af 

SI 


MADE 
BY  THE  MAKERS 
OF  YOUR 
TELEPHONE 


118 


SCREENLAND 


GROW— 

Yes,  Grow  Eyelashes 
and  Eyebrows  like  this 
in  30  days 

THE  most  marvelous  discovery  has  been  made — a 
way  to  make  eyelashes  and  eyebrows  actually 
grow.  Now  if  you  want  long,  curling,  silken  lashes, 
you  can  have  them — and  beautiful,  wonderful  eye- 
brows. 

I  say  to  you  in  plain  English  that  no  matter  how 
scant  the  eyelashes  and  eyebrows,  I  will  increase 
their  length  and  thickness  in  30  days — or  not  accept 
a  single  penny.  No  "ifs,"  "ands,"  or  "maybes."  It 
is  new  growth,  startling  results,  or  no  pay.  And  you 
are  the  sole  judge. 

Proved  Beyond  the  Shadow  of  a  Doubt 

Over  ten  thousand  women  have  tried  my  amazing 
discovery,  proved  that  eyes  can  now  be  fringed  with 
long,  curling  natural  lashes,  and  the  eyebrows  made 
intense,  strong  silken  lines  1  Read  what  a  few  of 
them  say.  I  have  made  oath  before  a  notary  public 
that  these  letters  are  voluntary  and  genuine.  From 
Mile.  Hefflefinger,  240  W.  "B  '  St.,  Carlisle,  Pa.: 
"I  certainly  am  delighted  ...  I  notice  the  greatest 
difference  ...  people  I  come  in  contact  with  remark 
how  long  and  silky  my  eyelashes  appear."  From 
Naomi  Otstot,  5437  Westminster  Ave.,  W.  Phila., 
Pa.:  "I  am  greatly  pleased.  My  eyebrows  and 
lashes  are  beautiful  now."  From  Frances  Raviart, 
R.  D.  No.  2,  Box  179,  Jeanette,  Penn.:  "Your  eye- 
lash and  eyebrow  beautifier  is  simply  marvelous." 
From  Pearl  Provo,  2954  Taylor  St.,  N.  E.,  Minne- 
apolis, Minn. :  "I  have  been  using  your  eyebrow  and 
eyelash  Method.  It  is  surely  wonderful."  From 
Miss  Flora  J.  Corriveau,  8  Pinette  Ave.,  Biddeford, 
Me.:  "I  am  more  than  pleased  with  your  Method. 
My  eyelashes  are  growing  long  and  luxurious." 

Results  Noticeable  in  a  Week 

In  one  week — sometimes  in  a  day  or  two — you 
notice  the  effect.  The  eyelashes  become  more  beau- 
tiful— like  a  silken  fringe.  The  darling  little  upward 
curl  shows  itself.  The  eyebrows  become  sleek  and 
tractable — with  a  noticeable  appearance  of  growth 
and  thickness.  You  will  have  the  thrill  of  a  life- 
time— know  that  you  can  have  eyelashes  and  eye- 
brows as  beautiful  as  any  you  ever  saw. 

Remember  ...  in  30  days  I  guarantee  results  that 
will  not  only  delight,  but  amaze.  If  you  are  not 
absolutely  and  entirely  satisfied,  your  money  will 
be  returned  promptly.  I  mean  just  that — no  quibble, 
no  strings.  Introductory  price  $1.95.  Later  the 
price  will  be  regularly  §5 .00. 


55.00.  —  ^7 


Grower  wilt  be  sent  C.  O.  D.  or  you  can  send 
tnoney  with  order.  If  money  accompanies  order 
postage  will  be  prepaid. 

r..  ...............  n 

■  LUCILLE  YOUNG, 

•        C48  Lucille  Young  Building,  Chicago,  III. 

Z       Send  me  your  new  discovery  for  growing  eye- 

■  lashes  and  eyebrows.  If  not  absolutely  and 
I  entirely  satisfied,  I  will  return  it  within  30  days 
I  and  you  will  return  my  money  without  question. 
I       Price  C.  O.  D.  is  SI. 95  plus  few  cents  postage. 

If  money  sent  with  order  price  is  51.95  and  post- 
age is  prepaid. 

State  whether  money  enclosed  or  you  want 
order  C.  O.  D  


Name_ 


St.  Address. 
City  


in  the  balcony.  Many  of  them  got  up  and 
left. 

The  Washington  ERPI  office  was  called 
and  the  engineer  arrived  to  lay  the  ghost. 
Soon  he  found  it.  A  broadcasting  studio 
on  top  of  the  theater  was  on  the  air  with 
the  negro  spiritual  and  by  induction  its 
music  had  seeped  down  into  the  sound 
system  of  the  theater.  The  house  is  not 
haunted  any  more. 

In  Philadelphia,  where  pictures  do  not 
play  on  Sunday,  a  third  projector  was 
added,  over  the  week-end,  to  the  battery 
of  two  already  working.  Show  time  came 
Monday  morning  and  it  was  necessary  to 
make  a  temporary  electrical  connection. 
When  the  picture  went  on,  a  queer  hum 
was  noticed,  a  new  kind  of  hum,  not  cata- 
logued  in  any  way. 

It  was  found  that  when  the  temporary 
connection  was  made,  an  electric  cable  had 
been  run  around  the  projection  booth.  The 
sound  apparatus  had  been  eavesdropping 
on  the  faint  noise  that  is  made  by  alter- 
nating  current  when  it  alternates.  It  alter- 
nates sixty  times  a  second  and  is  known 
as  a  "60-cycle  hum."  The  friendly  talkie 
apparatus  had  reached  out,  taken  this  hum 
from  the  wire,  amplified  it  and  served  it 
hot  to  the  patrons.  It  had  ERPI  hot  and 
bothered  for  about  ten  minutes. 

Western  Electric  is  now  making  a  new 
talkie  installation  once  every  69  minutes. 
When  the  name  of  a  theater  comes  up 
on  Western  Electric's  waiting  list,  ERPI 
gets  on  the  job,  pokes  around  in  all  the 
silent  dusty  corners  of  the  theater,  and 
decides  what  type  of  equipment,  and  how 
much  of  it,  will  best  permit  you  to  hear 
your  favorite  stars.  The  size  and  shape  of 
a  theater  are  important  factors. 

ERPI  stays  at  the  theater  for  two  weeks, 
making  the  installation,  fighting  'dead 
spots'  and  freak  acoustical  properties,  and 
giving  sound  a  new  lesson  in  how  the  well 
dressed  ether  wave  will  behave.  At  the 
same  time,  the  theater  staff  is  instructed  in 
the  operation  and  maintenance  of  the  equip- 
ment. ERPI  has  a  test  film  all  its  own. 
It's  a  sort  of  final  exam  for  the  equipment. 
There  are  no  stars  in  this  picture — in  fact, 
nothing  appears  on  the  screen  at  all.  You 
see  nothing.  All  you  do  is  hear — all  kinds 
of  sound:  voices  of  every  range,  pitch,  and 
resonance,  all  types  of  musical  instruments, 
and  a  hand-picked  bunch  of  incidental 
noises  and  effects. 

Moreover,  what  the  voices  say,  and  what 
the  instruments  play  is  chosen  with  an 
eye  to  the  ear.  In  this  ERPI  test  film, 
words  are  put  together  in  chains,  with  no 
regard  at  all  to  their  meaning,  but  with 
all  regard  to  phonetics. 

If  the  equipment  passes  this  strictly  oral 
test,  it  can  reproduce  any  thing  from  a 
Duncan  Sisters'  choral  to  a  congressman's 
speech  in  the  news-reels. 

But  even  after  that  ERPI  maintains  con- 
stant watch  to  see  that  all  is  not  silent  on 
the  talkie  front.  Once  a  week  for  two 
months  after  the  theater's  sound  premier, 
an  ERPI  engineer  calls.  Known  as  a 
Routine  Call,  this  visit  is  made  whether 
the  patient  is  ailing  or  in  perfect  health. 
After  the  first  two  months,  a  similar  call 
is  made  every  two  weeks  indefinitely.  Just 
as  a  nurse  keeps  a  chart  on  you,  ERPI 
charts  everything  —  in  triplicate.  After 
every  call  is  made  a  written  report  is  made. 
One  copy  is  left  with  the  theater  manager, 
one  is  sent  to  the  theater  owner,  and  the 
third  copy  is  sent  to  the  nearest  ERPI 
headquarters  where  a  file  is  kept  on  each 
theater. 

Besides  the  Routine  Call,  there  is  the 
Emergency  Call,  with  which  you  have  al- 


ready been  acquainted.  Also,  the  appoint- 
ment  Call.  This  is  a  consulting  service. 
You  know,  "Nothing  wrong  with  me, 
Doctor,  but  I  wish  you  would  give  me, 
a  thorough  examination."   That's  the  idea. 

Once  every  six  months  an  ERPI  Inspector 
— one  of  a  staff  of  125 — visits  every  theater 
using  Western  Electric  equipment.  The  ap- 
paratus is  inspected  from  Alpha  to  Omega 
and  the  good  old  test  film  is  run,  just  to 
see  that  the  equipment  has  not  forgotten 
anything  since  the  last  exam. 

Here  are  some  cheerful  statistics.  The 
ERPI  men,  800  in  all,  travel  100,000 
miles  a  week  in  this  country,  by  air,  rail, 
and  automobile,  making  each  week  3000 
calls  of  all  types  on  over  4000  theaters 
now  using  Western  Electric  equipment. 
There  are  115,000  shows  run  over  Western 
Electric  sound  projectors  every  week  in 
the  United  States.  Less  than  one  tenth 
of  one  percent  ehave  been  subject  to 
emergency  calls  on  ERPI.  The  most  remote 
emergency  job  has  been  handled  in  12 
hours.  Fifty  percent  of  these  hurry  up 
calls  are  made  in  thirty  minutes.  In  New 
York,  for  instance,  it  takes  ERPI  from 
five  to  fifteen  minutes  to  be  on  the  spot 
of  a  four-alarm  call. 

The  largest  theater  using  Western  Electric 
equipment  is,  of  course,  the  Roxy.  Although 
the  Auditorium  in  Atlantic  City,  uses  the 
company's  system  and  seats  40,000,  it  is 
not,  strictly  speaking,  a  theater,  and  the 
smallest  theater  served  by  Western  Electric 
for  sound  is  the  Piedmont,  in  Spruce  Pine, 
North  Carolina.  The  Piedmont  seats  200 
people. 

Seventy  percent  of  all  of  us  talkie  fans 
in  the  United  States  hear  our  talking  pic- 
tures over  Western  Electric  sound  systems. 

They  come  by  it  honest,  as  we  say  in 
the  Pennsylvania  Dutch  country.  Since 
1869  Western  Electric  has  been  identified 
with  the  history  of  the  electrical  transmis- 
sion of  sound.  Back  in  '69  they  were 
making  telegraph  apparatus  and  fire  alarm 
boxes.  In  '76,  when  Alexander  Graham 
Bell  invented  the  telephone,  they  began 
making  most  of  the  telephone  equipment, 
and  have  continued  to  do  so.  Under  sea, 
in  the  air,  at  listening  posts  in  the  front 
lines  during  the  war  Western  Electric 
equipment  passed  the  news  along. 

The  Bell  Telephone  Laboratories  are 
maintained  jointly  by  Western  Electric  and 
the  American  Telephone  and  Telegraph 
Company  and  it  was  of  this  marriage  that 
talking  pictures  were  born.  ERPI  comes 
of  good  parents. 

This  is  interesting  —  this:  In  1883  the 
first  multiple  switchboard  was  built  and 
installed  by  Western  Electric  in  Antwerp, 
Belgium.  And  completing  the  cycle,  the 
same  company,  on  March  28  of  this  year, 
made  vocal  the  first  picture  theater  in 
Antwerp,  the  Dixi.  A  one-paragraph  his- 
tory of  the  company,  I  calls  it. 

ERPI  has  a  lot  of  little  brothers  and 
sisters  overseas.  In  France  it's  the  Societe 
de  Materiel  Acoustique,  Inc.;  and  in  Austria 
it's  Western  Electric  fur  Oesterreich, 
G.  m.  b.  H. 

As  I  said  before,  Mickey  Mouse  is  squeal- 
ing in  Cairo  as  well  as  in  Chillichothe. 
In  Cairo  it's  the  Triomphe.  In  Algiers  it's 
the  Splendide,  a  great  name  for  a  talkie 
theater.  Cwmcarn  and  Methyr  Tydfil — not 
a  sister  team — are  two  of  the  many  towns 
in  Wales  where  the  folks  hear  Victor 
McLaglen. 

In  Saltcoats,  Scotland,  they  go  to  La 
Scala  to  hear  "The  Cohens  and  Kellys  in 
Scotland";  and  in  Tralee,  Ireland,  they  ride 
down  in  the  jaunting  car  to  the  Picture- 


for    August    19  3  0 

drome  to  hear  John  McCormack  in  "Song 
o'  My  Heart." 

Whether  it's  the  Pflum  Theater  in  Buda' 
pest,  the  Pola  Negri  Palace  in  Warsaw,  the 
Folkebibliotelket  in  Fredrikstad,  Norway, 
the  Excelsior  in  Rangoon,  India,  or  the 
Tivoli  in  Mumbles,  Wales,  they  get  the 
all-talking,  all-singing,  all-dancing  celluloid 
from  Hollywood  through  Western  Electric. 

And  speaking  of  Mumbles,  Wales.  It's 
a  good  thing  the  talkies  weren't  born  there. 
Else  they  would  have  been  the  mumblies 
instead  of  the  talkies;  and  just  imagine  the 
big  news  about  "Anna  Christie"  being 
'Garbo  Mumbles.' 

ERPI  is  doing  his  stuff  around  the  world. 
In  Austria  he  is  teaching  folks  to  call  a 
non-synchronous  attachment  a  "Nichtsyn- 
chroner  Zusatz-Apparat."  And  getting 
away  with  it.  Over  there,  just  as  over 
here,  Western  Electric  is  taking  engineers 
to  school  in  the  talkies.  As  ERPI  did 
over  here,  they  deliberately  inject  sound 
troubles  into  the  schoolroom  projector  ap- 
paratus and  then  say,  "Find  it.     Fix  it." 

Unless  memory  fails,  I  believe  I  men- 
tioned previously  that  the  men  Hollywood 
called  in  to  take  care  of  its  talkie  apparatus 
were  a  composite  picture  of  the  Northwest 
Mounted  Police,  the  air  mail  pilots,  the 
U.  S.  Marines  and  the  champion  down-the- 
pole  sliders  of  the  New  York  City  Fire 
Department. 

I  have  no  amendments  to  offer  except 
to  say  that  a  little  experience  in  lion-taming 
comes  in  handy.  The  Northwest  Mounted 
have  to  get  their  man.  The  ERPI  engineers 
have  to  get  their  squawk,  squeak,  or  what- 
ever vocal  button  the  young  sound  projector 
seems  to  have  swallowed.  The  slogan  of 
the  air  mail  pilots  is  "The  Mails  Must  Fly." 
In  talkie  language  that  means  "The  Show 
Must  Go  On,"  and  the  ERPI  army  enlists 
for  the  duration  of  the  war  for  just  that 
purpose.  Once  John  Gilbert  takes  a  maiden 
in  his  arms  and  begins  murmuring  impas- 
sioned things  into  her  ear,  the  proceedings 
simply  must  proceed. 

And  as  for  being  able  to  spring  to  pants 
like  a  fireman  and  slide  down  the  pole  in 
an  awful  hurry,  well,  it  just  has  to  be 
done.  Imagine  what  you  would  do  if  the 
telephone  rang  one  night  and  the  voice  at 
the  other  end  of  the  wire  said:  "This  is 
the  Bijou  Theater!  The  exciting  lamp  got 
too  excited  and  Clara  Bow  has  lost  her 
It."  Now,  I  ask  you,  what  would  any 
gentleman  do? 

They  are  thinking  of  getting  special  police 
permits  and  fire  engine  sirens  for  all  ERPI 
service  automobiles.  So  when  a  situation 
like  the  above  arises  a  new  exciting  lamp 
for  Clara  will  have  the  right  of  way. 

Police  would  recognize  the  car  by  the 
name  of  Western  Electric  on  it,  or  by  the 
ERPI  initials.  You  would,  too.   Either  one 
is  the  name  of  a  friend. 
~>  4- 


119 


The  Sessions 
Westminster  Chime  Clock 

which  was  offered  by  Joan 
Crawford  and  Douglas  Fair- 
banks, Jr.,  in  the  May  issue 
of  Screen  land  has  been 
awarded  to: 

Miss  Audrey  White, 
614!/2  Heliotrope  Drive, 
Hollywood,  California. 


O-CUr  offers 


FOR  BEST  RESULTS 

You  will  be  delighted  to 
see  how  easily  and  beau- 
tifully you  can  shampoo  and 
finger-wave  your  own  hair 
with  these  famous  prepara- 
tions. 

Jo-cur  Shampoo  Concen- 
trate—  lathers  luxuriously, 
brings  out  the  hidden  gold 
in  your  hair,  and  leaves  it 
soft,  silky  and  easy  to 
finger-wave.  It  should  be 
your  first  thought  in  hair 
dressing. 

Jo-cur  Waveset  —  sets 
natural  -  looking  waves 
quickly  and  is  beneficial  to 
hair  and  scalp.  Its  use  is 
simplicity  itself.  Millions  of 
women  recognize  Jo-cur 
Waveset  as  the  one  ideal 
finger-waving  liquid. 

OTHER  JO-CUR 
BEAUTY  AIDS 

Jo-cur  Hot  Oil  Treatment 

corrects  scalp  disorders. 
Jo-cur  Brilliantine  —  adds 
the  finishing  touch  to  the 
coiffure. 

Simple  directions  for 
shampooing  and  finger- 
waving  the  hair  come  with 
each  of  the  Jo-cur  Beauty 
Aids.  If  you  wish  to  use 
Jo-cur  Shampoo  Concen- 
trate and  Jo-cur  Waveset 
in  this  contest,  you  will  find 
trial  sizes  at  most  5-and-10 
cent  stores — regular  sizes 
at  your  drug  store. 


1000 

For  Beautiful 
Hair! 


FIRST  PRIZE 

$250.00  and  a  portrait  of  the  winner  by  Charles 
B.  Ross,  famous  painter  of  beautiful  women 
SECOND  PRIZE  $100.00 
2  Prizes  $50.00  each  10  Prizes  $10.00  each 

4  Prizes    25.00  each  70  Prizes     5.00  each 

ARE  you  proud  of  your  lovely  hair — its  beautiful  finger- 
I  \  wave — its  becoming  arrangement?  Of  course  you 
are!  And  the  beauty  of  your  hair  may  mean  real  money 
to  you  in  the  Jo-cur  Hair  Beauty  Contest.  Think  of  it!  You 
may  win  the  money  for  a  whole  new  outfit — a  trip — or 
some  other  luxury  you  have  always  wanted.  One  thousand 
dollars  in  prizes  will  be  given  in  this  search  for  beautiful 
hair.  Will  you  be  one  of  the  fortunate  winners?  Why  not? 
Your  chance  is  as  good  as  anyone's.  Read  the  simple  rules 
that  follow — then  enter  the  contest. 

CONDITIONS  OF  THE  CONTEST 

All  you  need  do  to  enter  is  shampoo  and  finger-wave 
your  hair  attractively.  Then  send  a  photograph  showing 
your  hair,  to  Miss  Jo-cur,  Curran  Laboratories,  Inc.,  New 
York  City.  With  the  photograph,  send  a  brief  note  telling 
whether  you  used  Jo-cur  Shampoo  and  Jo-cur  Waveset, 
the  original  finger-waving  liquid,  in  dressing  your  hair. 
That's  all  there  is  to  it.  Judges  will  consider  only  the 
beauty  of  your  hair  as  shown  in  the  photograph.  In  award- 
ing prizes,  equal  consideration  will  be  given  all  contestants 
regardless  of  the  preparations  used  in  dressing  the  hair. 
But,  don't  think  you  must  submit  an  expensive  photograph. 
A  good,  clear  snapshot  is  all  that  is  necessary.  Photographs 
cannot  be  returned  and  the  right  is  reserved  to  publish  any 
photograph  submitted.  The  contest  closes  September  30th. 

HERE  ARE  THE  JUDGES 

These  experts  in  feminine  hair  beauty  will  pick  the  lucky  winners  in  this 
contest.  Their  names  guarantee  that  the  judgment  will  be  fair  and  impartial. 


Alice  White,  First 
National  Star,  whose 
beautiful,  wavy  hair 
is  the  envy  of  millions. 


Hazel  Kozlay,  Editor 
of  American  Hair- 
dresser Magazine, an 
authority  on  beautiful 
hair. 


Charles  B.  Ross, 

famous  painter 
of  lovely  women. 


If  your  nearest  5-and-10  or  drug  store  is  out  of  Jo-cur  Beauty  Aids,  we 
will  mail  you  trial  sizes  of  all  four  products  upon  receiptof  50c  in  stamps. 
Remember  the  contest  closes  at  midnight  September  30,  1930.  Be 
among  the  first  to  enter  your  photograph  in  this  nation-wide  search 
for  beautiful  hair. 

CURRAN  LABORATORIES,  Inc. 

491  East  133rd  Street,  New  York,  N.Y. 


120 


"Now  I  can 
stand  the 
Public 
Gaze" 


Can 
You? 

When  you  slip  your 
beach  coat  from 
your  shoulders  and 
your  bathing  suit 
seems  all  too  brief 
. .  .When  you  tee  off 
in  front  of  a  watch- 
ful gallery  and  the  sunlight 
glances  on  your  stockingless 
legs  ,  .  .  When  you  raise 
your  arms  to  pin  back  a 
stray  lock  and  your  dress  is  sleeveless  .  .  . 

You  can  meet  such  moments  with  non- 
chalant poise  if  your  skin  shows  no  trace  of 
ugly  superfluous  hair. 

The  Secret  of  Charm 

It's  so  easy  to  keep  your  under- 
arm,  fore-arm  and  legs  free  of  ^smnF\ 
fuzzy  growth  when  you  use  V/^-^ua 
faintly  fragrant  Del-a-tone 
Cream.  (Removal  of  under-arm 
hair  lessens  perspiration  odor.) 


Perfected  through  our  exclusive  formula, 
Del-a-tone  has  the  distinction  of  being 
the  first  and  only  white  cream  hair-remover 

Easy  to  apply  as  cold  cream,  Del-a-tone 
actually  removes  hair  safely  in  3  minutes  or 
less.  When  you  see  how  smooth  and  clean 
it  leaves  your  skin  you  will  understand  why 
actresses  and  society  women,  who  are  con- 
stantly in  the  public  gaze,  consider  it  an 
indispensable  aid  to  loveliness. 

DEL-A-TONE 

The  Only  ll'/iite  Cream  Hair-remover 

Del-a-tone  Cream  or  Powder— 
at  drug  and  department  stores. 
Or  sent  prepaid  in  U.S.  in  plain 
wrapper,  SI.  Money  back  if 
desired.  Address  Miss  Mildred 
Hadley.  The  Delatone  Co. 
(Established  1908).  De- 
partment 148 ,   233  E. 
Ontario  Street,  Chicago  . 


19W  sales  of  Del-a-tone 

Cream  reached  a  record 
volume—four  times 
greater  than  any  pre- 
vious year.  Superi- 
ority—that's why. 


Trial 
Offer 


,  Chicago,  111. 
Keneroas  trial 
>  10c. 


SCREEN LAND 
THE  BOY  FRIENDS'  GIRL  FRIENDS 

Continued  from  page  33 


tete-a-tete  every  day. 

A  psycho-analyst  called  June  a  'modern 
girl  with  an  old-fashioned  complex.'  She's 
a  lively  little  person,  with  apparently  un- 
limited vivacity,  always  singing  or  dancing, 
but  possessed  of  an  assortment  of  high 
ideals  into  which  Arthur  is  determined  to 
fit. 

"A  man  likes  a  girl  who  is  above  him," 
says  Arthur,  naively.  "No  hard-boiled 
Hannas  for  me!" 

Joel  McCrea,  another  tall  and  good-look- 
ing youth  on  the  lot,  is  also  decidely  fond 
of  June  and  is  providing  the  spur  of  oppo- 
sition to  Arthur. 

The  studio  lunchroom  at  RKO  might  put 
out  a  sign:  "Romance  Rendezvous"  and 
get  away  with  it.  Not  only  June  and  her 
two  cavaliers,  but  Dorothy  Lee  and  Fred 
Waring,  Billy  Bakewell  and  Sally  Blane, 
Phillips  Holmes  and  Mary  Lawler  are  seen 
there  day  by  day. 

Phillips  Holmes  is  another  of  the  candi- 
dates for  Mary  Brian — in  fact,  he  was  the 
very  first  boy  friend  she  ever  had. 

Mary's  first  picture  was  "Peter  Pan." 
While  they  were  making  it,  Betty  Bronson,, 
who  played  Peter,  was  going  around  with 
Douglas  Fairbanks,  Jr.  Christmas  vacation, 
Doug  had  a  guest — Phillips  Holmes,  who 
had  gone  to  school  with  him  in  New  York 
and  who  was  out  in  Hollywood  for  the 
holidays.  So  they  made  it  a  foursome,  and 
Mary  went  along. 

Phillips  went  back  to  school,  first  to 
England  and  then  to  Princeton,  and  pre 
sumably  he  and  Mary  lost  track  of  one 
another. 

Then,  a  few  years  later,  Paramount  sent 
Buddy  Rogers  and  Mary  east  to  film  a 
college  picture  at  Princeton.  Phillips  came 
forward  with  a  glad  cry  and  showed  Mary 
the  town. 

Paramount  brought  Phillips  back  to  the 
coast  and  the  rushing  of  Mary  continued 
until  ill-health  forced  the  younger  Holmes 
out  of  pictures. 

Now  that  he's  back  again,  he  still  is 
seen  with  Mary  Brian,  but  lately  Mary  Law- 
ler has  been  sitting  across  the  luncheon 
table  from  the  handsome  fair-haired  youth. 

Mary  Lawler  just  arrived  to  play  the 
lead  opposite  Richard  Dix  in  his  new  pic- 
ture. She's  a  demure-looking  maiden,  in- 
tensely interested  in  dress  designing. 

No,  it's  no  longer  the  wild  tomboy-girl 
up-ending  a  cocktail  glass  who  leads  the 
race  for  popularity  with  the  boy  friends  of 
Hollywood! 

Marguerite  Churchill,  whose  dignity  and 
sweetness  are  remarked  on  stage,  screen 
and  in  real  life,  played  with  Russell  Gleason 
in  Paul  Muni's  "Seven  Faces."  Russell, 
who  had  never  cared  for  girls  before,  liked 
Marguerite.  He  still  likes  her.  It's  a 
tragedy  to  him  that  she's  up  in  Oregon 
making  "The  Big  Trail." 

It  wasn't  her  delicate  beauty  or  her  talent 
that  attracted  him.  It  was  her  sweetness 
and  the  fact  that  she  has  brains. 

"My  mother  has  brains,  too,"  comments 
Russell.  His  father  and  mother,  James  and 
Lucile  Gleason,  are  so  happy  that  Russell 
admits  to  feeling  he  had  better  follow  his 
father's  example  and  find  a  girl  like  his 
mother. 

"Of  course,  we're  not  old  enough  to  be 


thinking  of  getting  married,"  he  adds,  "I've 
got  to  get  somewhere  first." 

Up  in  Oregon  with  Marguerite  are  David 
Rollins.  Fox's  juvenile,  and  John  Wayne, 
newest  of  youthful  leading  men.  No  won- 
der Russell  looks  worried. 

Davy  was  running  around  with  Dixie 
Lee  before  he  left,  but  John  was  apparently 
unattached.    So  romantic-looking,  too. 

"I  don't  have  any  luck  with  girls,"  asserts 
William  Janney,  best  known  as  Mary  Pick- 
ford's  brother  in  "Coquette,"  and  now 
being  brother  to  Richard  Dix.  "My  very 
first  girl  was  Ruby  Keeler.  And  look  what 
she  did!  Got  married  to  Al  Jolson!  I 
went  to  school  with  Marguerite  Churchill. 
Didn't  make  the  least  impression  on  her, 
either. 

"I'm  sticking  to  girls  outside  pictures. 
Maybe  I'll  get  a  break  some  day." 

The  course  of  true  love,  as  you  may 
have  heard,  never  did  run  smooth. 
There's  Frank  Albertson 
"I  like  old-fashioned  girls,"  he  declares, 
staunchly.  "My  girl  isn't  a  bit  modern — 
she's  sweet.  You  don't  have  to  think:  'Now 
what '11  I  say?  How  can  I  amuse  her?'  She 
doesn't  have  to  be  entertained.  We  just 
talk — you'd  be  surprised  how  many  things 
we  have  to  say! — or  if  we  don't  feel  like 
talking  we  can  keep  still  and — boy,  it's 
grand!  She  likes  anything.  Goes  any- 
where. Never  crabs.  She  could  have  come' 
out  of  an  old-fashioned  paper  valentine. 

"But  her  mother  doesn't  like  me.  Can't 
think  why  not!"  with  a  gay  little  grin.  "The 
family  say  terrible  things  to  me,  practically 
throw  me  out  of  my  car  when  I  come 
around.  Yet  if  one  of  'em  happens  to  say 
'Hello'  to  me  in  passing,  there  I  am  back 
again  on  the  front  porch. 

"I  called  up  last  night  and  her  mother 
answered  the  phone  and  said  she  wasn't  in. 
I  reckon  I  sounded  sort  of  crushed,  so  she 
went  on :  'Frank,  I  want  you  to  believe  me. 
She  really  isn't  in.  I  don't  want  you  to 
feel  hurt.    I  don't  want  you  to  be  offended.' 

"I  said:  'You  ought  to  know  by  this 
time,  you  can't  offend  me' 

"I  reckon  I'd  better  not  mention  my 
girl's  name.  Yes,  she's  in  pictures.  She's 
the  sweetest  girl  in  pictures.  That  ought 
to  be  easy.    And  she  has  red  hair!" 

Eddie  Quillan  of  Pathe,  however,  says 
this  old-fashioned  stuff  is  all  wet  with  him. 
He  is  rushing  Sally  Starr  at  present.  It's 
a  case!  Yes,  going  on  for  two  weeks,  any- 
way. She's  full  of  pep — Clara  Bow  type, 
if  you  know  what  I  mean.  Hot  dog!  Hot 
mamma!  Whoopee! 

These  boy  friends  aren't  old  enough  to 
think  of  matrimony  definitely.  Billy  Bake- 
well  ,says  he  thinks  27  would  be  about  the 
right  age  for  that.  They  just  like  to  go 
around  with  girls. 

But  look  at  Loretta  Young  and  Grant 
Withers,  Sue  Carol  and  Nick  Stuart,  Joan 
Crawford  and  Doug  Fairbanks,  Jr.  Only 
last  year,  they  were  'just  going  around,'  too. 

On  the  other  hand,  you  might  look  at 
Buddy  Rogers,  who  has  played  escort  to 
Mary  Brian,  June  Collyer,  Claire  Windsor, 
et  al;  or  Gary  Cooper,  whose  romance  with 
Lupe  Velez;  got  so  much  space — or  Charlie 
Farrell,  who  was  supposed  to  be  heart-' 
broken  over  Janet  Gaynor's  marriage,  but 
who  trots  about  with  Virginia  Valli  now. 
Cupid  hasn't  snared  them — so  far! 


for    Au  gust    19  3  0 


121 


ZIEGFELD  PICKS  THEM 

Continued  from  page  23 

girl  and  advised  her  to  take  dancing.  She 
had  been  sent  to  me  by  a  dear  lady  friend. 
Fortunately,  she  went  into  pictures  and  the 
world  knows  of  her  great  success. 

"Nearly  every  show-girl  I  have  seen  in 
the  selection  of  talent  for  the  picturization 
of  'Whoopee'  has  been  before  me  in  the 
East.  Muriel  Finley,  for  instance,  is  a 
"Follies"  graduate. 

"I  believe  that  when  Evelyn  Laye,  the 
English  star  of  'Bitter  Sweet,'  hits  Holly- 
wood she  will  create  a  sensation.  Not  only 
is  she  a  great  performer  and  possessor  of 
a  voice  that  has  no  equal  but  hers  is  a 
beauty  that  will  screen  wonderfully.  She 
made  the  greatest  individual  hit  of  any 
artist  I  have  ever  presented  on  the  stage." 

For  forty  years  the  name  of  Florenz 
Ziegfeld  has  been  one  to  cope  with  in  the 
theater.  For  the  last  twenty-odd  years 
he  has  reigned  supreme  in  his  own  field. 
The  fact  that  Mr.  Ziegfeld  has  been  inter- 
ested enough  in  talking  pictures  to  cast 
his  lot  with  them  is  the  most  important 
step  New  York  has  made  in  our  direction. 
For  by  his  own  confession,  Mr.  Ziegfeld 
has  come  to  stay. 

He  came  at  the  invitation  of  Sam  Gold- 
wyn  to  watch  his  stage  production  of 
"Whoopee"  being  made  into  a  picture  and 
to  act  in  an  advisory  capacity.  But  before 
he  accepted  Mr.  Goldwyn's  invitation,  Mr. 
Ziegfeld  had  about  made  up  his  mind  that 
pictures,  from  a  producer's  standpoint,  in- 
terested him.    And  so  he  accepted. 

He  has  rented  one  of  Marion  Davies'  beach 
houses  because  his  wife,  Billie  Burke  and  his 
daughter  Patricia  adore  the  beach.  "Per- 
sonally, I'd  rather  be  here  in  town,  but 
they  are  the  ones  to  be  pleased."  How- 
ever, I've  an  idea  that  if  Billie  Burke  gets 
the  job  in  Paramount's  "Dancing  Mothers," 
it  is  rumored  she  has  been  offered,  the  Zieg- 
feld family  will  be  moving  'close  in.' 
Eight  o'clock  made  up  on  the  set  is  not 
conducive  to  living  quarters  twenty  miles 
from  the  studio. 

Mr.  Ziegfeld  is  on  the  "Whoopee"  set 
every  day  and  while  he  takes  no  active 
part  in  the  production  of  the  picture  he 
is  a  keenly  interested  observer.  He  has,  of 
course,  given  valuable  advice  in  things  a 
picture  producer  knows  nothing  of  and 
yet  must  learn,  now  that  the  stage  and 
screen  are  wed. 

Mr.  Goldwyn  is  one  of  our  shrewdest 
and  most  interesting  magnates.  He  is  de- 
termined to  give  the  public  the  best  he 
can  find  and  present  it  in  the  finest  man- 
ner obtainable,  and  so  when  he  signed  with 
Mr.  Ziegfeld  he  took  the  brains  and  talent 
that  made  "Whoopee"  what  it  is  along 
with  him.  Of  the  players  there  are  Eddie 
Cantor  and  Paul  Gregory.  John  Hark- 
rider,  who  has  been  with  Mr.  Ziegfeld 
for  the  past  three  or  four  seasons,  is  doing 
the  costumes  for  the  picture  and  the  orig- 
inal "Whoopee"  music  is  being  used.  Mr. 
Goldwyn  is  endeavoring  to  express  picture 
technique  through  the  medium  of  stage- 
trained  material  and  it  looks  as  though  he 
has  a  wow. 

I  asked  Mr.  Ziegfeld  whether  he  found 
the  stage  and  talking  pictures  technique 
vastly  different.  He  told  me  it  seemed  to 
him  that  the  screen  comedian  was  up  against 
a  terrible  problem  in  not  having  an  audi- 
ence to  play  to.  Humorous  situations  that 
are  created  and  that  bring  a  laugh  are  easy 
to  handle,  but  a  comedian  can  "never,  per- 


If  you  are  particular  about  your  lips,  try  the  new 
Ivory  Tips.  You  don't  drink  8-cent  ice  cream 
sodas.       Or  smoke  3 -cent  cigars. 

....  why  take  chances  ivith  cheap  cigarettes? 

For  those  who  can  afford  20  cents  for  the  best . . . 
Marlboros.        The  cigarettes  of  successful  men. 


And  smart  women. 


Plain  or  Ivory  Tipped 
No  difference  in  price 


You  will  like  Marlboros. 


sonally,  be  as  funny  on  the  screen  as  on 
the  stage  because  the  quality  of  magnetism 
and  personal  contact  is  lacking.  The  effect 
a  bit  of  business,  or  the  way  a  song  is 
put  over,  has  on  a  comedian's  audience  is 
very  inspiring,  and  dialogue  and  business 
is  often  changed  entirely,  by  inspiration  and 
on  account  of  the  reaction  of  the  audience. 
If  they  get  the  electric  response  that  all 
players  work  for,  it  stimulates  them.  They 
know  they  are  working  on  the  right  track 
and  improve  upon  it.  But  a  screen  player 
with  nothing  but  a  mechanical  instrument 
to  play  to  cannot  do  that.  He  is  shooting 
in  the  dark  and  cannot  tell  what  points 
get  over  best.  Even  the  natural  expression 
of  people  on  the  set,  the  carpenters  and 
electricians  and  assistants,  is  wiped  out  be- 
cause absolute  silence  must  be  maintained. 
Dramatic  scenes  are  very  different  because 
one's  own  emotions  are  aroused  by  the 
scene  itself,  but  there  is  nothing  save  a 
wet  blanket  of  unresponse  to  aid  the  com- 
edian and  it  isn't  possible  to  be  as  funny 
under  these  conditions. 

"I  have  formed  an  idea  and  a  solution 
of  this  important  detriment  to  comedy  per- 
formances and  intend  trying  it  out  when 
I  make  my  first  picture.  I  mean  a  picture 
that  will  be  solely  mine  in  every  detail,  not 
just  the  reproduction  by  another  producer  of 
what  I  created  on  the  stage." 

Mr.  Ziegfeld  told  me  he  had  not  come 
out  with  the  desire  to  teach  Hollywood  pro- 
ducers their  business.  "I  came  out  to 
learn.  How  I  will  absorb  this  learning  and 
adapt  what  they  call  picture  technique,  that 
seems  to  cover  a  multitude  of  sins,  to  what 
I  know  of  the  stage  is  something  that  I 
will  know  when  I  see  my  first  picture. 


"There  is  one  thing  the  screen  producer 
will  have  to  learn  how  to  handle,  as  we 
had  to  on  the  stage,  and  that  is  the  dif- 
ficulty in  getting  the  material  one  wants, 
when  one  wants  it.  I  have  noticed  since 
I  have  been  out  here  that  people  who  do 
creative  work  are  expected  to  turn  it  out 
like  sweatshop  workers.  It  can't  be  done. 
You  can't  give  a  song-writer  a  paper  and 
pencil  and  tell  him  to  have  a  song  hit  on 
your  desk  by  tomorrow  morning  at  eight 
o'clock.  If  he  does  it  and  the  song  hap- 
pens to  be  up  to  or  above  his  usual  average, 
it  is  just  an  accident.  He  happened  to 
be  in  the  mood.  One  cannot  dictate  to 
inspiration. 

"Mr.  Goldwyn  has  signed  Frederick 
Lonsdale,  the  celebrated  English  playwright, 
to  write  for  the  talking  screen.  Mr.  Lons- 
dale has  given  the  modern  stage  some  of 
its  finest  plays.  But  he  works  through  in' 
spiration.  He  may  do  one  act  of  a  new 
play  or  two  acts  and  then  he  may  never 
write  the  third.  On  the  other  hand,  he 
may  finish  it  quickly." 

Mr.  Goldwyn's  solution  of  that  particular 
problem  is,  "Do  fewer  pictures,  and  make 
better  ones.  One  producer  can't  do  more 
than  four  pictures  a  year  and  do  them 
right.  The  reason  some  producers  have  a 
lot  of  deadwood  in  the  morgue  is  because 
the  pictures  are  no  good.  The  exhibitors 
are  not  fools."  And  then  came  the  in- 
evitable and  naive  Goldwyn  touch,  "I  don't 
have  any  trouble." 

But  the  fact  that  Mr.  Goldwyn  doesn't 
bite  off  more  than  he  can  chew  shows  that 
he  has  more  than  average  sense.  "One 
production  at  a  time.  Then  I  know  what's 
going  on."  But  plenty  of  drive  goes  into 
that  production. 


122 


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The  most  difficult  thing  in  the  business, 
Mr.  Ziegfeld  told  me,  is  to  pick  a  song 
hit.  You  may  like  it  and  your  friends  may 
like  it,  but  one  never  knows  how  it  will 
click  with  the  public.  'Td  pay  a  man  a 
million  dollars  a  year  if  he  could  listen  to 
a  song  and  tell  me  whether  it  would  go 
over  or  not  and  be  right  about  it.  But 
I'm  afraid  the  person  doesn't  live  who  pos- 
sesses so  complex  an  understanding  of  pub' 
lie  tastes.  At  least  no  one  has  ever  found 
him." 

I  asked  whether  talking  pictures  had 
really  had  as  devastating  an  effect  on  the 
stage  as  reports  indicated.  "Talking  pic 
tures  have  not  hurt  the  theater  in  the  least. 
Good  shows  are  standing  them  up  at  prices 
anywhere  from  three  to  twelve  dollars  top 
plus  the  war  tax,  just  as  they  always  have. 
But  the  shows  have  to  be  good.  My  pro- 
duction  of  'Simple  Simon'  is  doing  phenom- 
enal business;  so  is  any  good  dramatic  show, 
and  there  are  three  or  four  this  year. 
Pictures  have  hurt  the  road  shows — they 
were  hurt  long  before  pictures  became  im- 
portant— during  the  war  when  the  railroads 
raised  their  prices  to  such  an  extent  that 
a  producer  couldn't  afford  to  travel  a 
company.  That  was  the  real  beginning  of 
the  road  show  trouble.  Pictures  did  the 
rest.  A  good  road  show  would  still  stand 
them  up,  but  traveling  expenses  eat  up  the 
profit  to  such  an  extent  that  it  is  no  longer 
worth  a  manager's  while  to  worry  over 
them. 

"Twenty  years  ago  there  were  not  more 
than  fifteen  first-class  theaters  in  New  York. 
Out  of  that  number  one  could  be  sure  of 
seeing  at  least  seven  good  plays.  Today 
there  are  over  sixty  theaters  and  one  is 
fortunate  to  find  seven  good  plays  during 
the   entire   season.     Things   produced  in 


quantity  always  suffer  in  quality. 

"The  possibility  of  reaching  millions  in- 
stead of  thousands,  and  in  places  a  road 
show  could  never  reach,  is  what  interests  me 
so  tremendously  in  the  picture  business. 
And  I  think  the  advance  made  in  talking 
pictures  in  the  next  ten  years  will  be  in- 
conceivable with  our  present  understanding 
of  them.  Many  things  have  still  to  be 
adjusted  before  the  perfect  recording  and 
camera  work  will  be  seen  in  talking  pic- 
tures, but  that  day  is  coming." 

Mr.  Ziegfeld  plans  to  bring  his  whole 
production  of  "Simple  Simon"  to  Holly- 
wood and  make  it  into  a  picture.  He  is 
enthusiastic  in  praise  of  Harriett  Hoctor. 
"She  is  the  greatest  dancer  I  have  ever 
seen  in  all  my  forty  years'  experience  in  the 
theater.  She  is  greater  than  Adelaide 
Genee  or  Pavlowa  or  anyone.  She  is  the 
first  dancer  to  do  a  toe  dance  in  boots, 
and  the  hunting  number  in  'Simple  Simon' 
is  a  sensation.  Genee  danced  with  boots 
and  her  ability  to  do  a  solo  in  them  aston- 
ished New  York,  but  she  never  did  a  toe 
dance  in  them.  Miss  Hoctor  has  an 
ethereal,  unearthly  quality  about  her  that 
is  astounding.  I  turned  her  down  once, 
too — she  had  nothing  but  technique  and 
was  as  cold  as  a  statue,  but  she  was  deter- 
mined to  succeed  and  worked  very  hard. 
The  next  time  I  saw  her  I  was  amazed  at 
her  progress." 

"Simple  Simon"  will  be  Mr.  Ziefigeld's 
own  and  probably  his  initial  effort  as  a 
picture  producer.  His  plans  are  already 
in  the  making  but  too  unformed  as  yet  to 
announce.  It  is  probable,  however,  that 
another  few  months  will  find  him  buried  in 
production  and  I  am  sure,  if  one  can 
judge  by  his  past  achievements,  that  first 
picture  will  be  a  knockout. 


THEIR  LITTLE  MANNERISMS 

Continued  from  page  27 


the  gesture  has  become  a  part  of  him. 
Watch  for  it  the  next  time  you  see  him, 
either  in  person  or  on  the  screen — but 
why  bring  that  up? 

Being  nonchalant  at  all  times  and  at 
any  cost  has  forced  Norma  Shearer  into 
Hollywood's  mannerism  parade.  Instead  of 
lighting  a  Murad  or  reaching  for  a  Lucky, 
Norma  has  resorted  to  twirling  her  beads. 
She  started  this  little  habit  on  the  screen 
but  now  it  has  followed  right  into  her 
private  existence.  They  do  say  that  after 
a  day's  work  at  the  studio,  the  Shearer 
'poils'  have  been  through  as  many  as  five 
thousand  revolutions! 

Then  there's  Jack  Oakie.  You  just  knew 
he'd  have  a  mannerism,  didn't  you?  He 
has — and  an  odd  one,  too.  Probably  you 
remember  seeing  Jack  in  certain  pictures, 
where  upon  being  introduced  to  someone, 
he  would  do  a  couple  of  funny  little  danc- 
ing steps,  then  swing  around  and  greet 
the  person  with  out-stretched  hand?  Well, 
that's  it — Jack's  pet  mannerism.  If  you 
ever  come  to  Hollywood  and  meet  genial 
Mister  Oakie  you  can  reasonably  expect 
to  be  greeted  with  his  little  'dance  of  intro- 
duction'— that  is,  of  course,  provided  he 
hasn't  got  rid  of  his  little  trait  in  the 
meantime. 

The  'eyes  have  it'  as  far  as  Janet  Gaynor 
is  concerned.  La  Belle  Gaynor  is  equipped 
with  twin-beam  headlights  from  which  tears 
can  be  turned  on  or  off  at  will,  and  at 
almost  any  intensity.  When  changing  from 
low  to  high — that  is,  from  a  few  little  drops 
to  a  regular  river  of  tears — however,  Janet 
finds  she  must  close  her  eyes  for  a  moment. 


Hence,  in  reality,  as  well  as  on  the  screen, 
one  isn't  amazed  to  find  her  batting  her 
lovely  orbs  at  a  record-breaking  speed. 

Portraying  Chico  in  "Seventh  Heaven," 
donated  the  personal  mannerism  now  kept 
as  a  pet  by  Charles  Farrell.  It  is  as  char- 
acteristic of  Charlie  as  an  underslung  chassis 
to  a  Daschund  and  you  must  admit  that 
is  pretty  characteristic!  This,  of  course,  all 
has  to  do  with  that  habit  of  placing  his 
first  finger  alongside  his  nose — the  pose  in- 
dicating deep,  very  deep  thought.  Young 
Farrell  uses  it  particularly  when  it  comes 
to  choosing  between  the  blonde  and  brunette 
of  the  species,  and  judging  from  reports 
it  must  work  very  beautifully.  Charlie 
also  has  a  habit  of  wrinkling  up  his  brow 
as  though  he  were  frightfully  deep  in 
thought  when  he's  not  really  at  all. 

Not  to  be  left  out  of  the  'mannerism 
brigade,'  Marjorie  White  has  taken  to  screw- 
ing  up  her  nose  in  front  of  the  camera. 
Marjorie  has  done  it  in  real  life  ever  since 
the  little  boys  of  the  neighborhod  began 
to  call  her  'Shorty,'  which  wasn't  so  very 
long  ago,  either.  If  you  missed  "Sunny 
Side  Up"  and  other  pictures  that  Miss 
White  has  played  in,  just  watch  for  her 
next  screen  appearance  and  see  if  you 
can't  easily  detect  her  little  mannerism. 

Buddy  Rogers'  chief  mannerism  is  con- 
stantly running  his  fingers  through  his 
curly  locks.  Buddy  does  this  both  in  films 
and  out  of  them.  And  fingering  and 
straightening  his  necktie  is  another  man- 
nerism of  his. 

William  •  Powell  is  still  another.  Bill 
doesn't   really  wear   collars  too  tight  for 


for    August    19  30 


123 


AN  OLD 
BEAUTY 
SECRET 


NANCY 
CARROLL 

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persona  I  i  ty! 
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124 


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him.  That  constant  stretching  of  his  neck 
as  though  he  were  Mary,  Queen  of  Scots, 
getting  ready  for  an  appointment  with  the 
ax  and  chopping  block,  is  just  a  habit. 
Powell  doesn't  know  how  and  where  he 
first  contracted  the  odd  trait,  but  one  of 
his  friends  once  laughingly  remarked  that 
the  great  Philo  Vance  of  the  screen  spent 
many  hours  as  a  child,  bobbing  for  apples! 

Lilyan  Tashman  has  an  odd  way  of 
throwing  back  her  head  with  a  quick  jerk 
when  anyone  speaks  to  her  suddenly.  If 
Lilyan  ever  should  come  to  your  town  and 
you  see  her  on  the  street,  just  say,  "Oh, 
hello,  Miss  Tashman!"  and  watch  her  head 
go  back  in  the  air!  It  is  a  distinct  manner* 
ism  and  possibly  Lilyan  doesn't  even  know 
she  possesses  it. 

Victor  McLaglen  has  a  trait  of  sticking 
his  thumbs  into  his  upper  vest  pockets  and 
waving  his  fingers  in  the  air!  Vic  does 
this  off  the  screen  all  the  time  and  recently 
he's  done  it  in  one  or  two  pictures,  prob- 
ably unconsciously. 

No  one  can  quite  move  their  eyebrows 
around  like  Catherine  Dale  Owen!  It's 
her  one  very  famous  mannerism.  In  fact, 
it's  a  standing  joke  in  Hollywood  that  if 
you  see  a  moving  eyebrow,  look  behind  it 
and  there  you'll  find  Catherine!  She  can 
raise  either  or  both  eyebrows  high  in  the 
air  and  rejoice  over  it!     It's  her  distin- 


SCREENLAND 

guishing  mannerism  both  off  and  on  the 
silver  sheet. 

Looking  at  you  through  half-closed  eyes 
is  Hedda  Hopper's  pet  trait.  If  you  don't 
believe  it,  watch  for  Hedda  in  "Such  Men 
Are  Dangerous,"  starring  Warner  Baxter. 
Practice  has  made  perfect  this  mannerism 
of  Miss  Hopper's  and  she  does  it  uncon- 
sciously  on  the  screen  as  well  as  off  just 
about  all  the  time. 

One  mustn't  forget  Paul  Muni,  who  has 
a  habit  of  clasping  his  hand  over  his  chin. 
Paul  had  to  do  this  a  lot  in  "Seven  Faces" 
when  he  portrayed  the  role  of  Napoleon. 
Evidently,  the  habit  had  'sticking'  qualities, 
for  it's  getting  to  be  a  real  mannerism  of 
Paul's  in  his  private  life. 

Then,  of  course,  there's  petite  Fifi  Dorsay 
of  "They  Had  to  See  Paris"  and  "Hot  for 
Paris"  fame,  whose  pet  mannerism  is  throw- 
ing her  head  way  back  in  the  air  and  laugh- 
ing gaily  and  loudly. 

And  Helen  Kane,  who  made  'Boop-a- 
Doop-ing'  the  favorite  pastime  of  Holly- 
wood, whose  little  trait  consists  of  coyly 
sticking  her  finger  up  to  her  chin  every 
so  often,  both  off  and  on  the  screen. 

Mannerisms! 

Our  little  town  has  'em  and  to  spare. 

You  might  say  they  come  in  all  sizes 
and  shapes  and  in  all  wrappings!  For  they 
certainly  do! 


ROGERS:  GINGER — Continued  from  page  34 


a  career,  should  be  Ginger's. 

To  have  relented  and  allowed  Ginger  to 
be  drawn  into  pictures  at  that  early  age, 
would  have  automatically  nullified  her  own 
choice  of  a  career;  would  have  stamped 
her  with  the  theater.  The  choice  should 
be  her  own! 

When  at  twelve  Ginger  had  progressed 
into  a  local  personality  in  Fort  Worth,  the 
Texas  town  to  which  we  had  migrated,  the 
hit  of  every  home-talent  affair,  in  constant 
demand  even  by  local  theatrical  managers 
as  an  'Extra  Added  Attraction!'  to  their 
regular  bills,  it  became  apparent  that  the 
theater  was  to  be  the  scene  of  her  future. 
With  this  decision  our  ambition  began 
reaching  out  for  motion  pictures,  the  high 
goal  to  which  all  actors  aspire. 

The  sooner  we  began  the  foundational 
work,  to  study  the  technicalities,  the  earlier 
in  life  would  Ginger's  success  be  won.  No 
faith  in  'chance'  or  'lucky  breaks!'  Ex- 
perience] That  was  the  thing  most  to  be 
desired. 

Long  hours  Ginger  and  I  would  sit  at 
home  dramatizing  incidents  of  Texas  history 
from  her  school  books,  writing  them  into 
playlets,  producing  them,  using  the  boys  and 
girls  of  her  classes  under  the  auspices  of 
teachers  and  principals;  giving  the  plays 
for  the  benefit  of  one  school  fund  or 
another — to  buy  a  piano  or  a  play-ground 
apparatus;  times  rich  in  experience  for  the 
other  students  as  well  as  Ginger;  and  a 
genuine  local  hit  in  one  piece  we  called 
"The  Death  of  St.  Denis,"  with  thirty- 
five  children  playing  grown-up  parts  of  the 
Texas-Mexican-French  regime  —  political 
strife,  Indian  troubles — it  was  grand! 
Teachers  and  mothers  wept  at  the  death 
of  St.  Denis  and  the  shooting  by  an  Indian 
of  his  lovely  wife,  Maria  (played  by  Vir- 
ginia Rogers).  Stage-poise,  the  'feel'  of 
audiences,  enunciation,  the  voice  over  the 
footlights,  were  all  gleaned  in  this  child- 
school. 

Then  came  the  Charleston! 

Always  a  natural  dancer,  the  Charleston 
gained  an  ardent  disciple  in  the  fourteen- 
year-old  Ginger,  and  when  contests  began 


to  filter  into  Texas,  she  won  medals  and 
cups.  The  State  Championship  Contest! 
Ginger  won  it.  The  reward— a  four-week 
tour  of  the  key  cities  of  Texas  in  vaudeville. 
From  the  first  performance,  Ginger  was 
hailed  as  an  embryonic  star.  Grateful  for 
this  beginning,  we  yet  never  took  our  eyes 
from  the  high  goal — pictures. 

Gaining  renown  and  success  in  the  home 
State  is  a  far  cry  from  Broadway.  Encour- 
aging, yes.  But  we  lived  to  learn  through 
the  next  four  years  what  the  word  courage 
really  means.  Cancelling  at  the  height  of 
a  successful  tour  because  Ginger  was  work- 
ing too  hard;  learning  to  sing  instead  of 
dance,  and  relaunching  Ginger  as  a  singer; 
long  tours  with  seemingly  no  progress. 

Occasional  bright  spots:  a  long  engage- 
ment with  Paul  Ash  in  Chicago;  recogni- 
tion from  Publix  Theater  officials;  the 
weeks  with  Ed  Lowry,  dean  of  picture 
house  comedians,  in  St.  Louis. 

Then  New  York- — and  a  drastic  decision 
to  stay  there  until  Ginger  should  get  a 
Broadway  show.  For  by  this  time  we  had 
learned  that  a  Broadway  show  was  the 
stepping  stone  to  motion  pictures,  talking 
motion  pictures. 

Long  weeks  of  waiting!  Paul  Ash  again 
to  the  rescue  with  an  invitation  for  Gin- 
ger, while  she  waited,  to  become  one  of 
his  stock  personalities  at  the  Paramount 
Theater,  Brooklyn.  This  substitute  proved 
to  be  Ginger's  great  opportunity.  It  was 
here  Messrs.  Bolton,  Kalmar  and  Ruby  saw 
and  signed  Ginger  for  their  musical  sue 
cess,  in  "Top  Speed." 

Over-night,  Broadway  made  Ginger 
Rogers  a  star!  (Inwardly  I  chuckled,  for 
hadn't  I  known  it  since  that  cold  gray 
dawn  in  Independence,  Missouri?) 

Three  weeks  after  the  Broadway  open- 
ing of  "Top  Speed,"  Ginger  began  her 
first  Paramount  talking  picture,  "Young 
Man  of  Manhattan"  with  Claudette  Colbert, 
Norman  Foster  and  Charles  Ruggles.  She 
is  now  working  on  her  second  "Queen 
High" — which,  it  has  just  occurred  to  me, 
will  never  be  finished  unless  I  wake  her 
up  right  this  minute! 


for    August  1930 


12? 


URBAN — Continued  from  page  31 


laughed,  "none  of  us  have  much  architec 
tural  data  of  those  times,  so  we  shall  have 
to  re-construct  what  little  we  can  ascertain 
of  that  period.  But  whatever  we  do,  as 
Mark  Twain  says,  it  can't  hurt  the  sixth 
century.  Therefore,  we'll  have  to  conjecture 
a  bit  as  to  just  how  the  people  lived.  All 
this  will  be  most  interesting  in  contrast  to 
the  modern  wise-cracks  of  Mr.  Rogers. 

"My  second  picture  will  be  'The  Man 
Who  Came  Back.'  Now  just  imagine.  I'll 
leave  this  modern  office  in  New  York  and 
in  fancy  go  to  San  Francisco  to  re-create 
the  atmosphere  of  the  lowest  sort  of  cabaret 
there.  From  San  Francisco  I  go,  again  in 
fancy,  to  China.  But  do  you  think  I  see 
any  of  the  beauty  of  that  land?  Not  at 
all.  I  must  stick  to  the  opium  dens.  From 
there  I  journey,  still'  in  imagination,  to  a 
British  possession,  an  island  in  the  Pacific — 
and  then  back  to  New  York  again.  Quite 
a  trip! 

"However,  the  designing  of  sets  will  be 
the  least  of  my  work  in  California,  perhaps. 
It  is  a  well-known  fact  that  the  new  talking 
picture  industry  needs  the  knowledge  and 
experience  of  all  the  artists  possible  to  help 
develop  it,  not  only  on  account  of  the  in- 
dustry itself,  but  for  the  sake  of  the  millions 
of  people  who  enjoy  pictures.  Every  artist 
who  goes  to  Hollywood  has  big  experimen- 
tal problems  to  work  out. 

"I  can't  say  just  at  this  time  exactly 
what  I  am  going  to  do.  But  I  can  tell 
you  several  specific  things  I  shall  try  to  do. 

"First,  I  am  not  satisfied  with  the  pres- 
ent lighting  of  moving  picture  sets.  Most 
of  the  lights  used  at  this  time  are  white. 
I  plan  to  use  colored  lights. 

"For  instance,  just  imagine  that  I  have 
a  yellow  tree.  I  paint  the  whole  tree  but 
it  will  always  be  the  same  dull  yellow  if 
a  white  light  is  thrown  on  it.  But  if  I 
throw  a  deeper  yellow  or  orange  light  on 
it,  the  tree  will  come  out  with  thousands 
of  transparencies — mixtures  of  all  the  yel- 
lows in  the  world.  There  will  be  as  much 
difference  in  the  use  of  the  white  and  the 
yellow  lights  as  there  would  be  between 
the  color  of  a  tree  in  the  rain  and  of  a 
tree  in  the  sunshine. 

"If  you  should  see  the  best  scenic  work 
I  have  ever  done  lying  on  the  floor,  you 
would  say':  'How  terrible!'  But  if  you 
should  see  it  set  up,  with  the  colored  lights 
on  it — well,  maybe  you  would  think  better 
of  it.  All  the  scenery  I  design  is  built 
for  light  effects  only. 

"Another  thing  of  which  I  am  a  great 
believer  is  in  taking  most  of  every  picture 


indoors.  Now  I  know  the  California  sun 
is  wonderful — dependable  and  permanent. 
But,  hold  on  a  minute.  I'm  going  to  make 
colored  pictures  and  the  great  composition 
in  color  is  not  only  the  color  itself  but  the 
real  secret  is  in  the  use  of  light  and 
shadow.  The  artist  has  to  have  that  in  his 
own  hands.  You  can't  depend  on  things 
which  happen  outside.  Nobody  human  is 
able  to  command  the  sun  to  stand  still.  And 
when  it  changes,  all  your  angles  are  shifted 
and  your  lights  and  shadows  are  not  where 
you  planned  them  at  all. 

"The  third  thing  which  will  claim  my 
attention  will  be  miniature  sets.  When  you 
see  your  favorite  movie  star  standing  below 
a  castle  parapet  singing  a  song,  I  hope 
you  never  stop  to  think  that  in  reality  that 
castle  may  not  be  longer  or  wider  than 
twenty  feet.  It's  apt  to  be  a  miniature 
model  magnified  many  times  by  the  camera's 
lenses  until  when  you  see  it  on  the  screen 
it  looks  like  Buckingham  Palace  itself. 

"  'Why  do  we  use  these  miniature  sets?' 
perhaps  you'll  wonder. 

"I'll  tell  you.  It  saves  expense,  in  the 
first  place.  But  that's  not  the  primary  con- 
sideration. The  real  reason  is  that  it  is 
so  much  easier  to  construct  this  tiny  model 
and  then  magnify  it  since  all  the  work  can 
be  done  indoors.  You  can  put  your  lights 
on  so  easily,  introduce  what  color  you  need, 
get  the  proper  shadow  and  light  effects, 
and  still  not  move  from  the  table  on  which 
you  are  building  your  model. 

"I  believe  enormously  in  the  educational 
value  of  talking  pictures.  I  don't  mean 
that  you  should  be  taught  lessons  when 
you  pay  your  good  money  to  go  into  the 
theater  to  be  amused.  But  I  do  mean 
that  millions  of  people,  even  without  real- 
izing it,  through  the  talking  picture,  will 
become  so  accustomed  to  real  artistic  form 
— artistic  atmosphere,  wonderful  photog- 
raphy, splendid  color,  and  clear  unblurred 
sound  that  before  they  know  it,  they  will 
become  just  as  artistically  sensitive  and  as 
dramatically  critical  as  that  small  class  of 
cosmopolitans  who  have  had  the  advantages 
of  education  and  unlimited  money — those 
who  are  able  to  attend  the  Metropolitan 
Opera  in  New  York  in  the  winter,  go  to 
London  for  the  Covent  Garden  season,  then 
on  to  Paris,  for  the  Comedie  Francaise,  and 
later  to  Vichy  and  Monte  Carlo  to  hear 
the  greatest  singers  and  dramatists  of  the 
continent.  Talking  pictures  really  have 
brought  Art  right  to  our  door  step,  and 
we  have  only  to  open  our  eyes  and  ears  to 
learn." 


GARBO'S  NEW  SCREEN  LOVER 

Continued  from  page  83 


a  test  at  Metro-Goldwyn-Mayer  for  another 
picture  but  the  Garbo  picture  had  never 
been  mentioned  to  me." 

It  seems  that  Clarence  Brown,  directing 
the  new  Garbo  talkie,  had  made  exhaustive 
tests  to  find  a  leading  man  without  success. 
The  part  called  for  a  man  who  could  play 
the  part  of  the  minister-lover  with  convinc- 
ing humanness  and  dignity,  yet  endowed 
with  romantic  appeal. 

Brown  and  Miss  Garbo  were  in  a  pro- 
jection room,  looking  at  various  tests,  when 
the  operator  put  on  Gordon's  test  by 
mistake. 

"That's  the  man!"  exclaimed  Brown. 
"Who  is  he?" 


Garbo  nodded. 

"I  don't  know — but  he's  the  man!"  she 
agreed. 

A  few  hours  later  the  casting  office  got 
Gordon  on  the  telephone  and  told  him  to 
report  at  9  a.m.  to  begin  work. 

"On  what?"  he  asked,  astonished,  since 
the  film  he  tested  for  had  already  been  re- 
leased. 

"The  Garbo  picture,"  he  was  told. 
Gordon    grinned    as    he    recalled  the 
moment. 

"And  you  can  imagine  my  embarrass- 
ment," he  said.  "I  had  a  date  to  take 
a  very  charming  young  lady  golfing  that 
morning — and  I  think  she's  still  waiting!" 


They  Used, 
to  Say 


Look  at  Me  Now 


The  story  of  a  if'-j 
woman  who  found 

the  way  out  j  '\ 

"T  WEIGHED  167  pounds  less  than  forn- 
ix months  ago.  Today  I  weigh  only 
138  pounds.  Yet  I  always  ate  plenty 
of  good,  satisfying  foods.  I  didn't  roll 
on  the  floor,  or  wear  hot,  sticky  rubber 
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GERSHWIN  —  Continued  from  page  30 


''I  recall  when  Metro-Goldwyn-Mayer 
tried  to  get  Bernard  Shaw  to  let  them  pic- 
turize  'Pygmalion.'  Shaw  was  about  to 
agree,  if  Metro  would  permit  him  to  pass 
on  all  the  important  technical  points.  Of 
course,  that  couldn't  be  done." 

"How  long  have  you  played  the  piano?" 
Gershwin  was  asked. 

"I  can't  remember — exactly." 

But  just  then  Ira  broke  in: 

"Jos  has  always  played  the  piano." 

"No  I  haven't,  Ira." 

"Jos  has  always  played  the  piano,"  Ira 
repeated  firmly.  "I  remember  when  Jos  was 
twelve  years  old,  pop  bought  a  piano  for 
me  to  take  lessons  on  but  the  first  day  it 
was  brought  into  the  house,  Jos  sat  down 
and  played,"  he  finished  proudly. 

"Oh,  Ira,  I  didn't  either." 

"You  did,  Jos.  I  even  remember  the 
piece  you  played.  It  was:  Put  Your  Arms 
Around  Me  Honey,  Hold  Me  Tight." 

"But  where  did  you  learn  to  play?"  I 
asked   Gershwin,   a  little  bewildered. 

"He  never  had  to  learn,"  Ira  volunteered 
again.  "There  was  a  family  who  lived  in 
a  tenement  not  far  from  us.  They  had  a 
piano  a  long  time  before  we  did  and  Jos 
used  to  go  up  there  and  play.  And  he 
never  had  to  pick  out  tunes  like  the  rest 
of  us.    He  just  sat  down  and  played." 

Ira  is  a  more  phlegmatic  version  of 
'Joseph.'  He,  too,  has  been  signed  to  go 
to  Hollywood.  He  plays  the  solid,  unvary- 
ing  bass  to  George-Joseph's  scintillating  and 
versatile  treble.  The  relationship  between 
the  brothers  is  a  happy  one.  Ira  openly 
admires  his  brother.  And  'Joseph'  depends 
upon  Ira,  not  only  for  lyrics  but  also,  I 
imagine,  for  an  escape  from  the  bothersome 
business  details  which  oppress  any  young 
successful  artist. 

It  has  been  ten  years  since  Gershwin  had 
his  first  music  published.  And  in  all  that 
time,  the  one  song  of  his  which  people  of 
all  classes,  young  and  old,  love  is:  I  Was 
So  Young  and  Tou  Were  So  Beautiful. 
Somehow,  that  song  is  the  keynote  to  Ger- 
shwin's character.  Despite  the  sophisti- 
cated modern  music  this  boy  has  composed, 
he  himself  is  apparently  not  sophisticated  in 
his  outlook.  There  is  a  devastatingly  naive 
quality  about  him  which  seems  to  say:  "I'm 
expecting  something  rather  wonderful  to 
happen.  Won't  you  stick  around  and  we'll 
see  what  it's  all  about?" 

"When  I  work,"  Gershwin  explained,  "I 
have  to  go  up  to-  my  farm  in  Westchester 
where  I  can  be  quiet.     Particularly  to  do 


my  orchestrations." 

"But  how  can  you  work  out  orchestra- 
tions if  you  never  studied  theory  or  har- 
mony?" somebody  asked. 

"I  did  study.  I  had  a  certain  amount 
of  technical  training,"  Gershwin  answered. 

"Yes,"  Ira  broke  in  again,  "he  had  just 
one  month  at  Columbia  University  under 
Professor  Coles.  One  hour  in  the  morn- 
ing for  one  month.  That's  how  he  learned 
instrumentation." 

"Was  there  ever  anybody  musical  in 
your  family?"  another  guest  wanted  to 
know. 

"Sure,"  George  smiled.  "Pop  used  to 
whistle  a  lot.  And  he  could  play  grand 
tunes  with  a  comb  and  tissue  paper." 

"No,"  Ira  corrected,  "there  never  has 
been  a  musician  in  our  family  as  far  back 
as  we  can  trace.  My  sister  dances,  I  write 
a  few  verses,  but  Jos,  he's  the  " 

"Oh,  cut  it  out,  Ira.  Let's  talk  about 
something  else,"  George  interrupted.  "You 
know,  I'm  crazy  about  golf.  I  just  took  it 
up  lately  but  it's  my  weakness  now.  I 
play  as  often  as  the  weather  lets  me.  One 
of  the  best  times  I  ever  had  in  my  life 
was  last  week  when  Conde  Nast  gave  a 
two-day  golfing  party — for  twelve  men,  no 
women  at  all.  It  was  grand.  We  played 
the  first  day  at  Lido  and  the  second  at 
Piping  Rock.  That's  another  reason  I'm  so 
glad  to  go  to  Hollywood.  You  can  play 
there  every  day." 

"Yeah,  play  the  piano!"  said  Ira,  grunt- 
ing. But  just  then  the  telephone  rang,  and 
Gershwin's  portly  Viennese  man  servant — 
the  same  one  who  made  the  delicious  strudel 
and  tart — walked  in:  "Pardon  me,  sir,  I 
just  wanted  to  remind  you  that  you're 
attending  'Le  Sacre  du  Printemps'  tonight 
with  Mr.  Kahn." 

"That's  right — I  am.  Well,  folks,  will 
you  excuse  me?  I've  got  to  hurry  and 
dress." 

And  so  the  company  faded  quietly  away, 
leaving  Gershwin,  his  brother,  his  sister, 
his  sister-in-law,  together,  in  their  exquisite 
pent-house  home  overlooking  the  Hudson 
River;  a  home  built  by  the  genius  of  a 
little  Jewish  boy  from  the  east  side,  who 
started  life  with  every  handicap,  but  who 
at  thirty-one  has  the  eyes  of  the  world 
fastened  on  his  success.  A  success  which 
is  only  starting.  For  when  one  begins  to 
work  with  the  illimitable  possibilities  of 
talking  pictures,  the  future  is  bounded  only 
by  one's  desires  and  dreams. 


JACK  VS.  'MIKE' 

Continued  from  page  29 


to  learn  something  new.  I  remember  when 
Calve,  already  a  noted  singer,  came  to  me. 

"  'But  why  do  you  wish  to  take  lessons 
from  me?'  I  asked  her. 

"  'Because  you  have  something  I  do  not 
know.    I  wish  to  learn  it.' 

"John  Gilbert  is  another  who  is  eager  to 
know,  to  learn  something  new.  He  is  a 
splendid  fellow.  When  he  first  came  to 
me  for  lessons  he  said: 

"  'How  anyone  can  fail  to  understand  the 
correct  use  of  the  voice  after  reading  your 
book  I  do  not  see.'  " 

"  'Then  you  have  read  my  book?'  "  I 
asked  in  surprise. 

"  'I  have  studied  it,'  he  replied.  That 
is  the  way  with  Mr.  Gilbert.    He  will  go 


into  anything  whole-heartedly.  And  it  is 
the  way  to  grasp  this  thing  of  voice  train- 
ing. When  you  know  it  here,"  pointing  to 
the  forehead,  "the  voice  can  begin  to  func- 
tion as  it  should. 

"But  I  find  the  same  thing  is  true  with 
many  of  these  moving  picture  people.  They 
can  concentrate.  It  is  really  easy  to  teach 
them.  For,  after  all,  it  is  a  thing  which 
must  be  grasped  mentally. 

"Bessie  Love  is  another  of  my  pupils  whp 
is  learning  rapidly.  With  six  months  of 
faithful  training  I  will  surprise  people  with 
her  voice.  Little  Dorothy  Jordan  is  another 
of  the  younger  actresses  who  comes  to  me. 
She  has  a  very  sweet  and  lovely  voice. 

"It  is  an  interesting  thing,  this  teaching 


for    August    19  50 


117 


here  in  Hollywood.  I  have  taken  some 
of  the  younger  players,  quite  unknown,  and 
started  them  in  lessons,  players  in  which 
Metro-Goldwyn-Mayer  have  every  confi' 
dence.  For  it  is  my  ambition  to  train  these 
young  players  to  be  the  singing  and  talk- 
ing stars  of  the  future.  To  teach  them  to 
sing  beautifully,  naturally,  and  combine  with 
gestures  and  facial  expressions  which  will 
photograph.  It  is  not  at  all  necessary  that 
a  singer  grimace  before  the  microphone." 
Cheering  news! 

"There  are  plenty  of  voices  in  Hollywood 
to  be  trained,"  continued  the  doctor,  "but 
all  could  be  taught.  It  all  depends  upon 
the  individual  how  long  it  will  take. 
Gloria  Swanson  had  lessons  for  less  than 
three  weeks  before  I  felt  she  could  speak 
properly.  Longer  than  that  is  necessary, 
of  course,  for  singing.  Miss  Swanson  still 
comes  to  me  every  day  by  special  arrange- 
ment  for  coaching.     She  will  not  let  any- 


thing interfere.    Even  Sunday  she  is  here. 

"Players  like  Joan  Crawford,  Anita  Page, 
Marion  Davies,  are  being  switched  around 
from  picture  to  picture  and  it  interferes 
with  their  lesson  hours." 

An  enthusiastic  personality,  this  famous 
doctor.  Eagerness  in  his  quick  movements, 
interest  in  his  eyes:  his  knowledge  the 
shield,  his  enthusiasm  the  buckler,  which 
girds  up  the  ambition,  spurs  the  courage 
and  gives  new  voice  to  those  who  would 
sing. 

With  his  family,  Dr.  Marafioti  joined  the 
western  procession  of  Grand  Opera  and 
already  finds  California  an  idyllic  spot. 

And  throughout  Hollywood  abandoned 
careers  are  being  brought  down  from  the 
attic,  discarded  voices  dusted  off,  for  here 
is  assurance  that  perserverance  and  study 
will  make  bright  and  shining  voices  out  of 
the  old  voices. 


ASK  ME — Continued  from  page  104 


body's  happehl  Lane  Chandler  is  6  feet 
3  inches  tall  and  Gary  Cooper  is  6  feet 
2  inches.  Evelyn  Brent  is  5  feet  4  inches 
tall  and  weighs  112  pounds.  Joan  Craw- 
ford weighs  110  pounds.  My  assortment 
of  December  birthdays  are  rather  low  just 
now  but  here  are  a  few:  Virginia  Lee  Corbin, 
December  5,  1910.  Douglas  Fairbanks,  Jr., 
December  9,  1908.  George  Lewis,  Decem- 
ber 10,  1903.  David  Lee,  December  29, 
1926.    Gilbert  Roland,  December  11,  1905. 

Monroe  Salisbury  Inquirer,  Ohio.  If  a 
screen  player  can  be  located,  this  depart- 
ment will  find  them  sooner  or  later,  with 
music  and  sound  effects.  At  last,  Mr. 
Salisbury,  we  have  found  you  with  "The 
Jade  Box."  a  serial  with  Louise  Lorraine 
and  Jack  Perrin.  Mona  Maris,  who  played 
with  Warner  Baxter  in  "Romance  of  Rio 
Grande,"  appears  with  Baxter  in  "The 
Arizona  Kid." 

Lolly-Pop  of  Milwaukee.  Am  I  William 
Haines'  sister?  Can  you  feature  that?  But 
Billy  tells  me  he  has  two  sisters,  Ann  and 
Lillian.  His  latest  release  is  "The  Girl  Said 
No,"  with  Leila  Hyams,  Marie  Dressier, 
Polly  Moran.  Stan  Laurel,  of  the  comedy 
team  of  Laurel-Hardy,  was  born  June  16. 
1895,  in  Ulverston,  England.  He  has 
auburn  hair,  blue  eyes,  is  5  feet  9  inches 
tall  and  weighs  150  pounds.  Johnny  Hines 
was  born  July  25,  1897,  in  Golden,  Colo- 
rado. He  has  black  hair,  brown  eyes,  is 
5  feet  10  inches  tall  and  weighs  160 
pounds.  Ben  Turpin  was  born  September 
19,  1874,  in  New  Orleans,  La.  Billy  Dooley 
was  born  in  Chicago,  111.,  in  1893. 

Mary  L.  S.  of  Fort  Wayne,  Ind.  Do  I 
know  of  any  screen  players  from  Indiana? 
Look  at  the  following  'caper-cutters'  with 
a  few  more  serious-minded  Hoosiers:  Louise 
Fazenda  from  Lafayette:  Sunshine  Hart  of 
Indianapolis;  Charlie  Murray  from  Laurel; 
Monte  Blue,  Indianapolis;  Alice  Terry, 
Vincennes;  Louise  Dresser  and  Marilyn 
Mller  from  Evansville;  Richard  Bennett  from 
Bennett's  Switch;  Tom  Santschi  from 
Kokomo;  Ann  Christy  from  Logansport, 
and  Carol  Lombard  from  Fort  Wayne. 
Thomas  Meighan  has  been  married  many 
years  to  Frances  Ring,  former  stage  star. 
David  Rollins  is  20  years  old  and  not  mar- 
ried. He  has  black  hair,  blue  eyes,  is  5 
feet  10y2  inches  tall  and  weighs  135  pounds. 
Address  Barry  Norton  at  Paramount  Stu- 
dios, 5451  Marathon  St.,  Hollywood,  Cal. 


Freckles 


Ramona  from  Honolulu.  Aloha,  and  all 
other  forms  of  saying  howdy,  or  is  it  good- 
bye? You  can  write  to  Dolores  del  Rio 
at  United  Artists  Studios,  1041  No.  For- 
mosa Ave.,  Hollywood,  Cal.  Neil  Hamil- 
ton at  Paramount  Studios,  5451  Marathon 
St.,  Hollywood,  Cal.  Alice  White,  First 
National  Studios,  Burbank,  Cal.  William 
Collier,  Jr.  at  Warner  Bros.  Studios,  5842 
Sunset  Blvd.,  Hollywood,  Cal. 

Sellme  from  Succarunne,  N..  J.  It's  ser- 
vice you  want,  is  it?  Showy  but  not  ex- 
pensive service,  with  no  cover  charge  and 
all  the  latest  static  and  pick-ups.  In  "The 
Home  Towners,"  the  daughter  was  Doris 
Kenyon,  the  son  was  Stanley  Taylor  and 
the  mother  was  Vera  Lewis.  In  "The 
Singing  Fool,"  the  girl,  Molly  Wilton,  was 
Josephine  Dunn.  The  principals  in  "My 
Man"  were  Fannie  Brice,  Edna  Murphy 
and  Guinn  Williams.  Ronald  Colman  was 
born  February  9,  1891,  in  Richmond, 
Surrey,  England.  His  latest  release  is 
"Condemned"  with  Ann  Harding.  His 
next  film  will  be  "Raffles,"  with  Kay 
Francis  as  his  leading  lady. 

Thelma  L.  of  Clovis,  N..  M.  All  the 
grand  things  you  say  about  Screenland 
are  true  and  we  pass  out  bows,  hither  and 
yon  with  every  issue.  The  picture  you 
ask  about  was  "The  Gay  Defender"  with 
Richard  Dix  and  Thelma  Todd.  Lucky 
you,  to  see  Richard  at  the  Indian  Fiesta, 
while  on  location  for  that  picture.  William 
Haines'  room-mate  in  "West  Point"  was 
William  Bakewell.  He  was  born  May  2, 
1908.  in  Los  Angeles,  Cal.  He  has  wavy 
brown  hair,  grey  eyes,  is  5  feet  1 1  inches 
tall  and  weighs  143  pounds.  He  lives 
alone  with  his  mother  in  Hollywood. 

Polly  of  Columbus,  7^,ebr.  You  must 
have  some  other  good-looking  girl  in  mind, 
for  I've  never  had  my  picture  in  the  papers, 
magazines,  or  comic  strips.  I'm  so  exclu- 
sive! In  Gloria  Swanson's  new  picture, 
"What  a  Widow!"  Lew  Cody  and  Owen 
Moore  head  a  supporting  cast  that  includes 
Margaret  Livingston  and  Buster  West. 

M.  E.  B.  of  Chicago.  Why  not  write 
prettily  and  wittily  to  Joe  O.  Brown  and 
ask  for  his  photograph?  Go  on,  I  dare 
you!  Address  him  at  Warner  Bros.  Studios, 
5842  Sunset  Blvd.,  Hollywood.  Cal.  He 
plays  with  Winnie  Lightner,  Sally  O'Neil, 
Dorothy  Revier  and  Georges  Carpentier  in 
"Hold  Everything." 


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DOGS  OF  DESTINY  —  Continued  from  page  59 


received  inspiration  for  the  work  he  is 
now  doing.  He  found  while  there, 
that  every  German  soldier  who  had 
lost  his  eyesight  had  been  given  a  trained 
Shepherd  police  dog  by  the  government. 
This  made  it  possible  for  them  to  get  about 
alone.  The  dogs  were  trained  at  govern- 
ment kennels  by  Lambert  Kreimer,  a  master 
at  this  work,  to  an  almost  unbelievable 
degree  of  efficiency  and  human  understand' 
ing.  Not  only  were  the  dogs  taught,  the 
masters  also  had  to  go  through  a  course 
of  training  to  know  how  to  work  intelli' 
gently  with  the  dogs.  As  Mr.  Sinykin 
watched  these  dogs  work  he  became  more 
and  more  interested  and  there  came  the 
realization  of  what  a  wonderful  thing  it 
would  be  to  establish  kennels  of  his  own 
and  train  dogs  for  this  good  purpose-  And 
that  is  exactly  what  Jack  Sinykin  is  doing. 

His  kennels  at  La  Salle,  Minnesota,  now 
cover  a  fifty-acre  tract.  They  are  operated 
on  a  highly  scientific  basis.  At  great  ex- 
pense and  with  considerable  wire-pulling 
Lambert  Kreimer,  the  famous  trainer  he 
had  met  in  Germany  was  secured  as  super- 
visor of  the  La  Salle  kennels.  It  was 
almost  like  signing  General  Pershing  to  a 
post  other  than  tbe  one  he  now  occupies, 
relates  Mr.  Sinykin.  Very  little  has  been 
said  about  these  kennels  as  yet  because 
their  owner  believes  they  are  not  yet  ready 
for  exploitation.  What  he  is  trying  to  do 
first  is  to  get  the  fact  established  that  he 
has  these  kennels  and  is  training  the  dogs. 
He  exhibits  the  animals  at  different  Ken- 
nel Clubs  where  he  explains  and  demon- 
strates the  work  he  is  doing  and  he  also 
talks  about  it  over  the  radio. 

It's  fascinating  to  hear  Jack  Sinykin  talk 
about  these  marvelous  animals,  his  ex- 
periences in  training  them  and  the  way  it 
is  done. 

For  example:  Suppose  you  are  blind  and 
want  to  go  to  a  garage  four  blocks  away 
and  across  the  street  from  your  home-  You 
tell  the  dog  this  and,  holding  fast  to  the 
handle  of  his  little  harness,  you  start  out. 
The  dog  will  lead  you  along  the  right- 
hand  side  of  the  pavement  and  when  he 


reaches  the  curbing  to  cross  the  street  he 
will  pull  back  and  sit  down;  that  is  the 
signal  for  you  to  stop  and  feel  with  your 
cane  for  the  step  downward.  The  dog 
looks  both  ways  along  the  street  to  see  that 
nothing  is  coming  before  he  ventures  across. 
Should  a  car  turn  unexpectedly  around  a 
corner,  the  dog  will  either  pull  back  to 
stop  you,  or  take  you  across  according  to 
his  best  judgment.  If  there  are  stop  and 
go  signals,  nothing  can  induce  him  to  cross 
until  the  releasing  light  or  go  signal  is 
flashed.  He  will  count  the  blocks  and 
lead  you  to  the  garage  and  if  ever  you 
want  to  go  there  again,  you  have  only  to 
say  'garage'  and  he  will  take  you  there. 
He  never  forgets. 

And  it  would  be  an  unlucky  break  for 
anyone  who  tried  to  pick  your  pockets,  or 
mistreat  you  in  any  way.  Instantly  the 
gentle  dog  would  become  a  snarling  bundle 
of  fur  and  fangs  and  your  attacker  would 
find  himself  in  trouble.  They  are  the 
'business  men'  of  their  kind. 

Jack  Sinykin  came  to  this  country  from 
Russia  when  he  was  fourteen  years  old. 
It  was  just  before  the  horror  of  the  Bolshe- 
vik uprising  and  everyone  was  feeling  the 
unrest  that  precedes  any  national  calamity. 
Jack  knew  his  mother  was  worried  about 
her  little  family  and  made  up  his  mind 
that  as  oldest  child  he  should  relieve  her 
of  at  least  one  of  her  worries;  so  arrange- 
ments were  made  for  Jack  to  join  his  father 
who  was  already  in  America-  Now,  all 
of  his  family  are  over  here. 

We  admire  Jack  Sinykin  for  his  ac- 
complishment, for  the  help  he  has  been  and 
will  be,  to  humanity.  And  we  eagerly 
anticipate  the  advent  of  these  famous  dogs 
as  trained  actors  to  the  motion  picture  field. 
But  that  will  not  be  until  he  is  sure  of  his 
dogs.  He  is  very  thorough  in  everything 
he  undertakes.  That's  why  he  refused  at 
first  to  sell  his  dogs.  He  was  too  busy 
establishing  the  fact  that  he  was  training 
the  dogs  and  that  they  will  do  what  he 
claims  they  will  do.  'Perfection  first'  is  his 
motto. 


WHEELER — Continued  from  page  54 


communication  from  these  officials,  saying 
that  the  lions  are  the  best  monuments  they 
have  ever  had.  They  say  that  nobody 
paid  any  attention  to  them  before,  but 
since  I  bought  them,  everybody  looks  at 
them  and  laughs. 

I  believe  in  doing  big  things  like  that 
in  a  big  way.  And  Woolsey — say!  That 
cheap  skate  could  have  bought  the  court- 
house the  day  I  bought  the  lions,  but  he 
turned  it  down.  He  never  did  have  any 
business  sense. 

Woolsey  is  just  a  comedian,  anyway, 
while  I — I  am  a  scientist  as  well  as  a 
comedian.  I'm  an  unusual  .scientist,  too, 
for  lucre  means  nothing  to  me.  I'm  altru- 
istic. My  discoveries  go  to  humanity,  free 
of  charge. 

I  have  one  discovery  almost  ready  to 
release.    I  believe  it  will  free  womankind. 

I  got  the  inspiration  while  making  "The 
Cuckoos."  I  became  interested  in  bird  life 
and  made  a  tour  of  an  ostrich  farm  for 
scientific  investigation. 

I  noted  a  sad-looking  old  bird.  I  in- 
quired as  to  its  grief.  Tho  attendant  said 
it  wanted  to  set. 

"Tell  it  to  wait  a  minute,"  I  said.  "I'll 
fetch  the  poor  thing  a  chair." 


But  I  was  all  wet.  It  wanted  an  egg 
to  sit  on.    They  gave  it  an  egg. 

"Is  that  her  egg?"  I  inquired. 

"Naw,"  said  the  attendant,  "any  old 
bird's  egg  will  do." 

And  would  you  believe  it?  That  egg 
hatched! 

Boy,  what  a  discovery.  Why,  all  that 
bird  had  to  do  was  sit  on  that  egg,  and 
rest!  It's  a  wise  woman  who  knows  her 
ostriches. 

I'm  having  some  slight  difficulty  adapt- 
ing the  plan  for  practical  purposes,  but  I'll 
get  it,  sooner  or  later.  That'll  make 
Woolsey  sit  up  and  take  notice! 

And  say,  see  if  you  can  make  any  sense 
of  this  last  paragraph  of  that  letter  I  got 
from  Philadelphia: 

"One  of  our  number  came  to  work 
recently,  and  upon  arriving  at  the  city  hall 
discovered  to  his  dismay  that  he  had  for- 
gotten himself  and  left  him  home  in  bed. 
He  rushed  home  to  get  him,  only  to  find 
that  he  had  departed.  He  dashed  back 
to  the  office  to  ask  if  anybody  had  seen 
him.  We  have  sent  him  to  Hollywood, 
feeling  that  he  eminently  qualified  to  be 
your  successor!" 

Aw! 


for    August    19  30 


129 


HOLLYWOOD  GOES  PLACES — Continued  from  page  63 


state  unhesitatingly  that  it  was  Palm  Can' 
yon!"  exclaimed  Patsy,  as  we  stood  on  the 
edge  of  it  and  looked  down  into  its  cool 
depths  where  a  lovely  stream  flowed  under 
immensely  tall  palm  trees,  whose  existence 
there  nobody  can  explain. 

Fritzi  Ridgeway  is  a  very  clever  young 
actress  who  is  dividing  her  time  between 
film  acting  and  running  a  hotel  in  Palm 
Springs,  and  she  was  giving  a  big  house 
party  over  the  week-end. 

Gwen  Lee  was  there,  and  Dorothy  Jams, 
Scott  Kolk,  Rosetta  and  Vivian  Duncan, 
John  Darrow,  Doris  Lloyd,  Sammy  Blum, 
Simeon  Gest  and  his  wife,  Marie  Bekefi, 
the  dancer:  Victor  McLaglen  and  his  wife: 
Nita  Martan,  Elise  Bartlett,  Sally  Blane, 
Milton  Brown,  of  Columbia  Pictures,  and 
others. 

Rosetta  Duncan  must  have  a  bottle  of 
pop  in  that  heavenly  place,  and  we  bought 
it  from  the  dealer  in  a  little  shop  that 
sells  post-cards,  soft  drinks,  etc. 

Fritzi  told  us  that  there  used  to  be  a 
funny  little  shack  there  kept  by  a  nature 
man,  who  wore  long  hair  but  little  else, 
and  who  bathed  in  the  hot  spring  in  the 
rocks  back  of  his  cabin.  He  had  been  a 
beach  comber  in  Honolulu,  and  from  the 
Hawaiian  Islands  he  had  brought  a  lot  of 
odd  musical  wind  instruments,  which  he 
set  in  the  trees,  and  which  gave  forth 
weird  music  when  the  wind  blew,  so  that 
it  could  be  heard  away  down  at  Palm 
Springs  when  the  breezes  were  in  the  right 
direction.  He  also  had  a  lot  of  signs  posted 
up  about  the  place,  exhorting  the  reader 
'Don't  hurt  any  of  the  wild  animals  or 
birds  here;  they  never  hurt  you.' 

A  kindly  and  an  absorbingly  interesting 
figure  he  was;  but  since  he  refused  to  wear 
clothes,  the  local  Chamber  of  Commerce 
felt  that  the  tourists  mustn't  be  shocked,  so 
they  drove  him  away  into  the  mountains. 

After  exploring  the  canyon,  or  at  least 
as  much  of  it  as  we  had  time  for,  we 
drove  back  to  the  Del  Tahquitz  Hotel, 
where  Fritzi's  quite  famous  husband,  the 
musician,  Constantine  Bakaleinikoff,  was 
waiting  to  greet  us  and  to  conduct  us  into 
the  dining  room  for  dinner. 

In  the  patio,  a  group  of  cowboys  from 
the  nearby  dude  ranch,  all  clad  in  pic- 
turesque cowboy  outfits,  were  playing  on 
banjos  and  guitars,  and  the  most  talented 
of  their  number,  Bob  Cheatum,  came  into 
the  dining  room  to  play  his  guitar  and  sing 
those  weirdly  comic  cowboy  songs  which 
are  like  nothing  else  in  the  world.  Cheatum 
is  the  son  of  a  Virginian  Senator,  but  pre- 
fers the  wild  life  of  a  cowboy  to  that  of 
politics  or  business. 

Rosetta  Duncan's  place  at  table  had  been 
vacant,  but  she  presently  dashed  in,  of 
course,  to  kid  and  clown  about.  She  was 
wearing  that  funny  false  black  mustache  of 
hers,  and  she  and  Vivian  set  the  party  off 
to  a  high  note  of  hilarity. 

Moonlight  horseback  riding  was  the 
order  for  the  evening,  the  party  to  ride 
up  to  Del  Tahquitz  Canyon,  where  there 
were  to  be  a  weiner  roast  and  bonfire, 
and  there  Rosetta  and  Vivian  and  Bob 
Cheatum  entertained  us  with  songs  and 
stories  and  their  own  inimitable  kidding. 

Next  morning  down  in  the  hot  springs 
shack,  which  is  run  by  the  Indians,  we 
found  Gwen  Lee  and  Dorothy  Janis  taking 
the  mud  baths.  They  were  squealing  a 
bit,  since  the  mud  has  a  quicksand  quality, 
and  you  go  down  and  down.  But  in- 
variably the  spring  boils  and  tosses  you 
up  again. 


"Like  the  man  who  couldn't  see  the 
forest  for  the  trees,  we  just  can't  see  the 
guests  for  the  party!"  exclaimed  John 
Davidson. 

John  had  taken  Patsy  and  me  to  the 
Biltmore,  where  Edith  Mayer,  Louis  B. 
Mayer's  daughter,  was  being  married  to  that 
extremely  good-looking  young  man,  William 
Goetz,  and  we  found  the  huge  drawing 
room  outside  the  ballroom  already  crowded 
with  guests  although  we  were  early. 

"Well,  I  should  think,"  remarked  Patsy, 
"that  when  people  like  Mary  Pickford  and 
Charlie  Chaplin  and  Doug  Fairbanks  are 
present,  you'd  be  able  to  see  'em!" 

John  admitted  his  error  like  a  gentleman, 
and  we  trouped  into  our  seats,  which  were 
luckily  near  the  altar. 

The  drawing  room  had  been  fitted  up 
like  a  temple  of  worship,  with  a  high  altar 
where  the  wedding  was  to  take  place,  and 
decorated  with  long  ropes  and  huge 
bouquets  of  blossoms. 

Crowds  fllocked  outside  the  door,  in 
Peacock  Alley  of  the  hotel,  and  when  a 
new  star  arrived,  they  cheered. 

All  the  same,  the  fuss  and  excitement 
could  not  detract  from  the  simple  beauty 
and  dignity  of  the  Hebrew  service. 

"It  sounds,"  said  Patsy,  "just  as  though 
your  father  and  mother  were  talking  to 
you!" 

The  bride  looked  lovely  in  her  white 
satin  gown,  and  she  carried  the  most  gor- 
geous bouquet  of  white  orchids  we  had 
ever  beheld. 

"And  the  bridesmaids  are  a  procession 
of  rare  beauty,"  John  Davidson  remarked, 
in  rather  an  awe-stricken  tone,  even  used 
as  he  was  to  Hollywood  beauty. 

There  were  Bessie  Love,  Corinne  Griffith, 
Irene  Mayer,  Carmel  Myers,  Katherine  Ben- 
nett, May  McAvoy,  and  Marion  Davies. 

Louis  B.  Mayer  gave  the  bride  away,  and 
we  heard  somebody  say  that  he  hadn't 
found  that  slow  step  down  to  the  altar  at 
all  easy,  used  as  he  is  to  dashing  busily 
about. 

Joseph  Schenck  was  with  wife,  Norma 
Talmadge,  and  seemed  as  attentive  and 
devoted  as  he  has  ever  been,  despite  rumors 
that  there  has  been  a  rift  in  their  marital 
happiness.  We  know,  at  any  rate,  that 
there  is  a  deep  respect  and  a  real  affection 
between  the  two,  no  matter  what  superfi- 
cial break  there  may  have  been. 

We  circulated  a  while  after  the  ceremony, 
saying  hello  to  scores  of  people  we  knew. 

Norma  Shearer  was  there,  looking  very 
lovely,  with  her  husband,  Irving  G.  Thal- 
berg,  and  we  learned  that  they  aren't  going 
to  Europe,  after  all,  because  Irving  cannot 
leave  his  duties  at  Metro-Goldwyn-Mayer 
for  so  long  a  time  as  the  European  trip 
would  take,  but  they  are  going  for  a  trip 
to  Honolulu. 

"But  I  think  it's  partly  on  account  of 
the  expected  visit  of  the  stork,"  Patsy  con- 
fided to  me.  "I  think  Norma  doesn't  want 
to  be  traveling  about  so  strenuously  at  this 
time.    Indeed  she  told  me  that." 

Harold  Lloyd  and  his  wife  were  there, 
and  Fred  Niblo  and  Mrs.  Niblo,  Paul  Bern, 
Ramon  Novarro,  Walter  Morosco,  Antonio 
Moreno  and  his  wife,  Katherine  Bennett, 
King  Vidor  and  Eleanor  Boardman,  Michael 
Curtiz  and  Bess  Meredith,  Bessie  Love  and 
her  husband,  William  Hawks:  Thelma  Todd 
and  Harry  Priester,  Hal  Wallis  and  Louise 
Fazenda,  Anita  Stewart  and  her  husband, 
George  Converse;  Mr.  and  Mrs.  Sam  Gold' 
wyn,  Jack  Gilbert  and  Ina  Claire. 


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Painting  photos  and  miniatures.  No 
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SCREENLAND 


"THE  KING  IS  DEAD 


LONG  LIVE  THE  KING!" 


THIS  being  an  age  of  new  styles  in  bathing  suits, 
motor  cars,  and  golf  balls  it  is  not  surprising  to. 
find  a  new  style  of  motion  picture  theater  goer. 
The  1930  style  of  picture  enthusiast  is*  having  a 
profound  influence  on  the  talkies — for  the  better. 

<C  In  the  first  place,  we  are  more  critical  of  our  screen 
entertainment  since  the  talkies  came.  We  will  pack  to 
the  rafters  theaters  that  play  good  talking  pictures,  and 
walk  away  rapidly  in  all  directions  from  playhouses  that 
show  poor  ones — with  fiercer  loyalty  on  the  one  hand,  and 
greater  indifference  on  the  other  than  we  ever  exhibited 
before  sound  came  to  Hollywood. 

<(You — the  "1930  model"  picture  theater  goer — are  re- 
sponsible. You  are  alert,  modern  and  you  know  enter- 
tainment. More  and  more  you — added  up  until  you  make 
115,000,000  picture  patrons  a  week — sit  in  with  the  stars, 
directors  and  executives  as  they  plan  your  pictures. 

<Clt's  fascinating,  isn't  it,  to  think  that  you  play  such  an 
important  part  in  the  creation  of  your  favorite  amuse- 
ment? This  issue  of  Screenland  marks  a  step  further  in 
the  direction  of  still  closer  contact  between  Hollywood 
and  you. 

<(  It  happens  that  now — even  as  you  are  reading  this  page 
— is  the  selling  season  in  the  motion  picture  industry. 
That  is  a  prosaic  statement  but  it  means  a  lot  to  you. 
Theater  owners  do  not  get  pictures  merely  by  wishing 
for  them.  They  must  buy  them.  Custom  and  the  nature 
of  this  great  art  of  ours  have  set 
this  season  of  the  year  as  the  time 
when  the  theaters  arrange  for  the 
major  portion  of  the  pictures  they 
will  show  on  their  screens  from  the 
Fall  of  1930  to  the  Spring  of 
1931.  Most  of  the  pictures  you 
are  seeing  now  were  contracted 
for  by  the  theaters  at  this  time 
last  year.  Similarly,  the  pictures 
you  will  see  and  hear  during  the 
new  season  are  being  bought  now. 


tures,  when  producers  kept  everything  a  dark  secret, 
particularly  the  identity  of  their  players.  But  the 
1930  producer  knows  that  without  your  interest,  there 
would  be  no  great  talkie  art.  Without  your  support,  talk- 
ing pictures  would  be  seen  only  in  vault-like  museums, 
collecting  dust  and  the  comment  of  the  bored  art  critics. 
No  beautiful  picture  theaters,  no  sunshine  of  laughter  and 
romance,  no  joy  of  escape  from  rounds  of  daily  care. 

<C  Now,  the  owner  or  the  manager  of  your  favorite  theater 
is  one  of  your  best  friends.  In  more  ways  than  one.  His 
screen  sometimes  cures  more  ills  than  the  doctor,  and  very 
often  is  the  pulpit  for  a  message  of  spiritual  beauty. 

<C  The  theater  owner  or  manager  wants  to  please  you.  He 
is  a  merchant,  selling  the  most-loved  commodity  in  the 
world — romance.  He  wants  to  play  the  pictures  that  most 
appeal  to  you.  He  will  be  glad  to  hear  from  you  at  any 
time  by  telephone  or  letter.  Particularly  now,  when  he 
is  deciding  what  stars,  what  pictures,  what  trademarks 
will  appear  on  his  screen  from  this  Fall  until  next  Spring. 

((  It  is  significant  that  all  five  of  the  producing  companies 
making  special,  timely  announcements  to  you  in  this  issue 
of  Screenland  are  also  large  owners  of  theaters  through- 
out the  country.  Do  not  hesitate  to  express  your  preference 
in  entertainment  whether  your  theater  is  independently 
owned  or  is  part  of  a  large  chain.  All  theaters,  all  pro- 
ducers want  your  keen  interest,  your  active  support. 

C[  For  you  are  the  new  king — the  informed  picture  theater 
goer.  As  the  throngs  used  to  shout  when  the  old  monarch 
passed  and  a  new  king  took  the  throne,  "The  king  is  dead. 

Long  live  the  king!" 


HOW  DO  PICTURES  COME 
TO  YOUR  THEATERS? 


GCIn  this  issue  of  Screenland 
several  of  the  big  producers, 
Warner  Brothers,  First  National 
and  Vitaphone,  Paramount, 
Radio  Pictures,  and  Metro-Gold- 
wyn-Mayer  are  taking  you  into 
their  confidence  regarding  their 
stars  and  pictures  for  the  coming 
year.  Study  their  special  adver- 
tising announcements  with  partic- 
ular care.  They  mark  a  milestone 
in  motion  picture  history. 

These  announcements  are  a  far 
cry  from  the  early  days  of  pic- 


How  do  John  Barrymore, 
Buddy  Rogers,  Greta  Garbo, 
Richard  Dix  come  to  the  screen 
of  your  favorite  theater?  Does 
the  theater  obtain  its  pictures 
merely  by  wishing  for  them? 

Pictures  are  contracted  for  far 
in  advance  of  their  play  dates, 
and  the  time  the  major  part  of 
the  contracts  are  written  is 
NOW. 

The  publishers  of  Screenland 
present  herewith  a  message  of 
real  importance  to  all  picture 
theater  goers.  Read  it,  and  then 
go  to  the  polls — the  theaters — 
and  vote  your  own  winning  en- 
tertainment ticket. 


<C  Of  all  the  picture  patrons,  you, 
the  readers  of  Screenland  were 
the  first  selected  to  receive  this 
new  type  of  announcements  from 
The  Warner  Brothers,  First  Na- 
tional and  Vitaphone,  from  Metro- 
Goldwyn-Mayer,  Paramount  and 
Radio  Pictures.  We  told  your 
story  to  the  producers  and  the 
idea  took  its  present  form  with 
the  able  guidance  of  some  of  the 
best  minds  in  the  executive  per- 
sonnel of  the  motion  picture  com- 
panies. It  is  possible  that  other 
announcements  will  follow,  and 
then  still  further  announcements, 
telling  you  that  the  stars  and  pic- 
tures you  vote  for  now  are  current 
at  your  favorite  theaters. 

<CSo — to  the  polls.  Enlightened 
by  what  you  read,  vote  at  your 
theaters  for  the  stars  and  pictures 
you  want  to  see  in  the  new  talkie 
year. 

THE  PUBLISHERS 


America's  Smart  Screen  Magazine 

CREENLAND 


September 

25c 


THIS  THl 


PRFECT 

Screen  Face? 

■eated  by  Ro/f  Armstrong 


See 
Page  18 


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ore 


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for    September  1930 


3 


AN  ODD  TIME  TO  SAY. . . 


Maybe  it  seems  so,  but  it  is  the  beginning  of 
a  new  theatrical  season,  and  Educational 
is  wishing  it  may  be  the  happiest  year  in 
your  picture  going  experience.  To  help 
make  it  so,  Educational,  with  vastly  en- 
larged studio  facilities,  is  producing  for 
your  amusement  the  most  pretentious  group 
of  short  comedies  in  motion  picture  history. 

A  year  and  a  half  of  the  talking  comedy  has 
proved  how  much  funnier  and  more  enter- 
taining the  short  comedies  can  be,  and  they 
are  a  bigger  and  more  vital  part  of  screen 
entertainment  now  than  ever  before.  The  the- 
atres that  sincerely  wish  you  a  44  happy  new 
year"  in  this  entertainment  will  be  planning 
to  show  you  the  best  of  the  short  talking  com- 
edies as  well  as  good  feature  pictures.  Ask  the 
manager  of  your  favorite  theatre  mom;  if  Ed- 
ucationaVs  Talking  Comedies  are  on  his 
schedule  of  productions  for  the  coming  season. 


THIS  MONTH'S  PROGRAM: 


Cover  —  Painted  by  Rolf  Armstrong 

Sound  News.  By  Evelyn  Ballarine     ....  6 

Letters  from  the  Audience   10 

The  College  Movie  Star  Comes  to  Niles 

Junction.  Cartoon   14 

Honor  Page   16 

Editorial.  By  Delight  Evans   17 

Is  This  the  Perfect  Screen  Face? 

By  Rolf  Armstrong  .   18 

All  Quiet  on  the  Broadway  Front. 

By  Herbert  Cruikshank  :  20 

Four-A-Day  at  69!   Madame  Schumann'Hein\. 

By  Rosa  Reilly   22 

Otis  Skinner's  First  Day  in  a  Talkie  Studio. 

By  Brian  Herbert   24 

What  Happens  to  Stage  Stars  in  Hollywood? 

By  Ruth  Tildesley   26 

A  Singing  Lesson.   By  Jeanette  MacDonald    .  28 

Queen  Merry.  By  Marie  House   30 

Ronald  Colman  Confesses!  By  Helen  Ludlam  32. 
Paris  -|-  Hollywood  =  What  Smart  Women 

Will  Wear  This  Fall.  By  Travis  Banton  34 
Screen  Stars  in  Fall  Fashions  .  .  .  .35-50 
Mister  Brown.  Joe  E.  Brown. 

By  Bradford  Carroll   51 

They  Want  to  be  Different. 

By  S.  R.  Mook   52 

News!   Nancy  Carroll.   By  Thomas  Talbott  55 

Make  Way  for  the  Artists!   56 

Blondes  Still  Preferred   58 

A  Gift  from  Ramon  Novarro   60 

High  Society  in  Hollywood. 

By  Grace  Kingsley   62 


Ways  and  Means  to  Beauty.    Screenland' s 


Beauty  Department.  By  Anne  Van  Alstyne  64 

Stunting  to  Stardom.  Hoot  Gibson. 

By  Franklin  James   66 

The  Most  Beautiful  Still  of  the  Month  .  67 

Garbo — -That's  All!  —  Portraits   68 

Jack  Oakie  — ■  A  Portrait   70 

Maureen  O'Sullivan  —  A  Portrait  .    .    .    .  71 

Sally  Eilers  —  A  Portrait   72 

Regis  Toomey  —  A  Portrait   73 

Conquerors  of  the  Clouds. 

From  "Hell's  Angels"      .......  74 

Gary  Cooper  —  A  Portrait   76 

Claire  Luce  —  A  Portrait   77 

Billie  Dove  —  Portraits    78 

Clive  Brook — -Portraits   79 

Constance  Bennett  —  A  Portrait   80 

Kay  Francis  —  A  Portrait   81 

Prima  Donna.   Bernice  Claire.  By  Allen  Erwin  83 

Reviews  of  the  Best  Pictures. 

By  Delight  Evans   84 

Critical  Comment  on  Current  Films  ...  86 

On  Location  with  Robert  Montgomery. 

By  Helen  Ludlam   88 

The  Stage  in  Review.  By  Benjamin  De  Casseres  90 

Cooking  for  the  Fun  of  It.  Zelma  O'l^leal. 

By  Emily  Kirk   92 

Hot  from  Hollywood.  K[ews  and  Gossip  .    .  94 

Making  a  Scene  from  "Moby  Dick"  .    .    .  .100 

Ask  Me.  By  Miss  Vee  Dee  .......  101 

Wanted — Another  "Goat." 

By  the  Publishers   130 


Published  monthlv  by  Screenland  Magazine.  Inc.  Executive  and  Editorial  offices:  45  West  45th  Street,  New  York  City. 
Alfred  A.  Cohen,  President;  Delisht  Evans,  Vice-President;  H.  C.  Olpe,  Secretary.  Frank  J.  Carroll,  Art  Director; 
E.  Philip  Willcox.  Advertising  Director.  Chicago  office:  333  North  Michigan  Avenue,  Chicago;  William  H.  Capelle. 
Western  Manager.  Manuscripts  and  drawings  must  be  accompanied  by  return  postage.  They  will  receive  careful  attention 
but  Screenland  assumes  no  responsibility  for  their  safety. 

Yearlv  subscriptions  $2.50  in  the  United  States,  its  dependencies,  Cuba  and  Mexico;  $3.00  in  Canada;  foreign.  $3.50. 
Entered  as  second-class  matter  November  30,  1923,  at  the  Post  Office  at  New  York,  N.  Y.,  under  the  act  of  March  3, 
1879.     Additional  entry  at  Dunellen,  N.  J.     Copyright  1930.     Member  Audit  Bureau  or  Circulations. 


for    September    1930  5 

Greatest  wonder  in 

an  age  of  wonders! 


"MANSLAUGHTER" 

tvitn  CLAUDETTE  COLBERT  and  Fredrie  March 


Talking  motion  pictures! 

Today's  greatest  value  in  entertain- 
ment! Screen  stars,  once  but  moving 
shadows,  you  see  and  hear !  The  living 
voices  of  famous  stage  stars  come  to 
you!  Song  hits  of  the  day  on  the  screen ! 
New  personalities  born.  New  types  of 
entertainment  created.  Because  the 
world's  foremost  stars,  authors,  direc- 
tors, composers  are  now  concentrating 
their  talents  on  the  screen!  Go  often 
— as  often  as  it's  a  Paramount  Picture— 
"the  best  show  in  town!" 


JACK  JEAXETTE 
OAK1E  MacDOMLD 

in 

"LET'S  go  NATIVE" 

A  mad,  merry  musical  farce  with  a  hand 
picked  cast  of  Hollywood  fun  makers 
including  Skeets  Gallagher,  James  Hall, 
Kay  Francis,  Eugene  Pallette,  William 
Austin.  By  George  Marion,  Jr.,  author 
of  "Sweetie"  and  "Safety  in  Numbers" 
and  Percy  Heath.  Directed  by  Leo 
McCarey.  Music  by  Richard  A.  Whiting. 
Lyrics  by  George  Marion,  Jr. 


The  gripping  story  of  a  spoiled  darling 
of  society,  who  thought  the  world  her 
playground  and  almost  proved  it  until 
Fate  took  a  hand,  stripped  her  of  her  pride 
and  power,  and  threw  her  into  prison  to 
fall  in  love  with  the  man  who  jailed  her! 

• 

PARAMOUNT  SOUND 

NEWS  . .  twice  weekly 

The  livest  sound  news  is  Paramount! 
See  it  —  compare  it  with  any  other  for 
breezy,  timely  news  of  the  day,  striking 
personalities,  showmanship  —  then  ask 
your  Theatre  Manager  to  make  it  a  reg- 
ular part  of  his  program. 

• 

On  the  Air! 

Tune  in  on  your  favorite  screen  stars 
in  the  Paramount  Publix  Radio  Hour 
each  Saturday  Night,  10-11  P.  M.  Eastern 
Daylight  Saving  Time  over  the  Columbia 
Broadcasting  System. 


With  Claudette  Colbert,  Fredrie  March, 
Emma  Dunn,  Natalie  Moorhead,  Hilda 
Vaughn  and  Stanley  Fields.  Directed  by 
George  Abbott.  From  the  famous  Satur- 
day Evening  Post  serial  and  novel  by 
Alice  Duer  Miller. 


"GRUMPY" 

starring  CYRIL.  MAUDE 

Now  Paramount  presents  on  the  talking 
screen  the  distinguished  star  Cyril  Maude 
in  his  most  famous  role,  "Grumpy."  With 
Philips  Holmes,  Paul  Lukas,  Francis  Dade, 
Paul  Cavanagh.  Directed  by  George 
Cukor  and  Cyril  Gardner.  From  the  play 
by  Horace  Hodges  and  T.  E.  Percyval. 


(paramount  ffi?  Cpictur&s 

Paramount  Pubhx  Corporation,  Adolph  Zukor,  Pres.  {f\^$7j^<^i       ^  J  Paramount  Building,  New  York 


SCREENLAND 


Charming — 
self-confident 


Moments  that  Matter: 

.  .  .  when  you  raise  your  arms  to  pin  back 
a  stray  lock — and  your  dress  is  sleeveless  . . . 
When  the  tiny  lamp  on  a  "table  for  two" 
shines  full  on  your  bare  fore-arm  .  .  .  when 
you  cross  your  knees  and  realize  suddenly 
that  your  sheer  hose  are  so  transparent  .  .  . 

You  can  meet  such  moments  with  non- 
chalance if  your  skin  shows  no  trace  of  ugly 
superfluous  hair. 

The  most  pleasant  modern  way  to  keep 
your  under-arms,  fore-arms  and  legs  free  of 
fuzzy  growth  is  to  use 

DEL-ATONE 

Tl»e  White  Cream  Hair-remover* 


Easy  to  use  as  cold  cream, 
Del-a-tone  actually  re- 
moves hair  safely  in  three 
minutes  or  less.  This  snowy^ 
white,  faintly  fragrant  cream 
hair-remover,  leaves  your  skin 
satiny  smooth  .  .  .  alluringly 

soft.  Use  Del-a-tone  for  dainti-  Removal  of  un- 

aer-arm  hatr 

ness— it  will  enable  you  to  meet  lessens  perspi- 
the  public  gaze  with  poise.  * 
Send  coupon  below  for  generous  trial  tube. 

*Perfected  through  our  exclusive  formula. 


Del-a-tone  Cream  or  Powder— 
at  drug  and  department  stores. 
Or  sent  prepaid  In  U.S.  In  plain 
wrapper,  SI.  Money  back  if 
desired.  Address  Miss  Mildred 
Hadley.  The  Delatone  Co. 
(Established  1908),  De- 
partment   149.  233  E. 
Ontario  Street.  Chicago. 


1929  sales  of  Del-a-tone 
Cream  reached  a  record 
volume— four  times 
greater  than  any  pre- 
vious year.  Superi* 
ority— that's  why. 


"  Offer. 


fliaa  Mildred  Hadley.  The  Delatone  Company 
Dept.  149,  Delatone  Bid?.,  233  E.  Ontario  St..  Chicago.  111. 
Please  send  me  In  plain  wrapper  prepaid,  generous  trial 
tube  of  Del-a-tone  Cream,  for  which  I  enclose  10c. 


JOUND  S^WS 


By 

Evelyn 
Ballarine 


An  ear  and  eyeful  of 
forthcoming  films 


IS  there  a  scarcity  of  original  screen 
stories  in  Hollywood?  There  shouldn't 
be  with  most  of  the  well-known 
writers  such  as  Louis  Bromfield,  P. 
G.  Wodehouse,  Stephen  Vincent  Benet, 
Booth  Tarkington  and  others  contributing 
their  genius.  Maybe  not — but  it  seems  that 
most  of  the  old  silent  successes  are  being 
remade  into  talkers. 

D.  W.  Griffith  is  going  to  direct  the 
talking  version  of  none  other  than  "The 
Birth  of  a  Nation,"  for  Triangle  Pictures. 
Of  course,  you  know  he  directed  the  silent 
film.  This  same  company  has  plans  for 
the  vocal  transcription  of  "Broken  Blossoms" 
and  wanted  Richard  Barthelmess  for  the 
lead  again.  It  is  said  that  Mr.  Barthel- 
mess won't  consider  it  because  he  doesn't 
want  to  try  to  repeat  a  former  success. 
"Tol'able  David,"  another  of  Richard's 
silent  hits,  is  being  remade  by  Columbia 
Pictures.  Three  of  Norma  Talmadge's 
silent  screen  successes  are  also  being  remade 
but  Norma  isn't  in  any  of  the  casts.  Joan 
Bennett  is  making  "Smilin'  Thru,"  Mary 
Pickford  will  next  be  seen  in  "Secrets" 
which  Mary  has  retitled  "Forever  Yours"; 
and  Dolores  Del  Rio  will  heroine  it  in 
"The  Dove."  Rex  Beach's  "The  Spoilers" 
is  being  vocalized  by  Gary  Cooper.  "Res- 
urrection," with  Lupe  Velez,  is  another 
silent  film  being  resurrected  for  the  talkers; 
and  also  "The  Hunchback  of  Notre 
Dame." 

A  huge  welcome  with  sound  effects  for 
the  return  of  a  few  prodigal  foreign  accents! 
Victor  Varconi  is  back  in  our  midst  with 
a  nice  new  contract  from  Warner  Brothers. 
"The  Gay  Caballero"  will  be  his  initial 
talker. 

Lily  Damita  will  play  opposite  Al  Jolson 
in  "Sons  o'  Guns,"  the  Broadway  stage 
play  in  which  Lily  made  such  a  sensational 
hit. 

However,  Vilma  Banky  is  making  "Rene- 
gade" for  Fox  Films  and  this  will  be  her 
swan  song.  Vilma  is  content  to  be  Mrs. 
Rod  La  Rocque  in  the  future. 

It  has  been  rumored  and  re-rumored  that 
Emil  Tannings  would  be  back  on  these  shores 


to  make  American  talkers  for  Paramount 
but  he  hasn't  put  in  his  appearance  as  yet. 
Where,  oh,  where,  is  Emil?  We  want  Emil 
Jannings!  It  looks  like  a  case  for  Phtlo 
Vance. 

Adolphe  Menjou  is  doing  very  nicely 
for  himself.  He  has  a  contract  with  Metro- 
Goldwyn-Mayer  in  which  he  will  be  called 
upon  to  make  talkies  in  three  or  four 
languages,  including  the  American. 

Richard  Dix  is  all  set  to  start  work  on 
Edna  Ferber's  "Cimarron"  but  the  feminine 
lead  hasn't  been  selected.  It's  a  case  of 
cherchez  h  femme  and  the  right  femme. 
RKO  are  looking  for  a  charming  young 
girl  who  can  successfully  portray  phases  of 
a  woman's  life  from  18  to  80! 

And  Evelyn  Laye,  the  British  stage  star 
signed  by  Samuel  Goldwyn,  has  an  original 
story  called  "Lilli"  written  for  her  by  Louis 
Bromfield  all  ready  for  production  except 
for  the  male  lead.  What  to  do?  What 
to  do?  Too  bad  these  stars  aren't  with 
the  same  company.  Incidentally,  Miss  Laye 
played  a  very  young  girl,  as  she  really  is, 
and  an  old  woman  in  "Bitter  Sweet,"  the 
Ziegfeld  operetta. 

Maureen  O'Sullivan,  the  little  Irish  col- 
leen imported  from  Ireland  for  "Song  o' 
My  Heart,"  is  making  a  hit  in  a  big  way. 
Maureen  has  been  cast  for  the  feminine 
lead  opposite  Charles  Farrell  in  "The  Prince 
and  the  Plumber."  This  picture  was  pre- 
viously announced  as  a  Janet  Gaynor-Charles 
Farrell  opus.  'Tis  whispered  that  little 
Janet  Gaynor  and  Fox  Films  are  not  on 
talking  terms  at  the  present  time.  Which 
might  or  might  not  mean  anything — George 
Bancroft  was  reported  to  have  a  peeve  on 
with  Paramount  recently  but  now  every- 
thing is  peaceful  again.  They're  just  one 
big  happy  family! 

So  successful  was  "All  Quiet  on  the 
Western  Front"  that  Universal  Pictures  are 
going  to  make  a  sequel  to  it  called 
"Kamarad."  Written,  of  course,  by  Erich 
Maria  Remarque,  author  of  "All  Quiet." 
The  sequel  will  not  be  as  grim  as  its  brother 
film.  Lew  Ayres  will  play  the  lead  again 
and  Louis  Milestone  will  again  direct. 


f  err    September  1930 


A  Til  o^l^^^ZZ       r~^e=s&<^,-'  • 





SCREENLAND 


10  made  SUNNY  SIDE  UP  the  most  popular 
motion  picture  of  the  past  year? 

, .  .  YOU  did  —with  the  tickets 
'you  bought  at  the  box  offices  ail 
over  the  country ....  Who  made 
THE  COCKEYED  WORLD  the  run- 
ner-up  ?  .  .  . .  YOU  again  —  with 
your  spontaneous  approval,  registered  by  cash  paid  for  tickets  at  the 
box  office,  of  the  rough  and  ready  wit  and  humor  of  McLaglen  and  Lowe. 

. . . .  Who  were  the  year's  favorite  actor  and  actress?  Janet  Gaynor 

and  Charles  Farrell,  overwhelmingly  voted  the  most 
popular  in  polls  conducted  by  both  the  Chicago 
Tribune  and  the  New  York  Daily  News,  the  two  largest 

newspapers  in  their  respective  cities  Who  won 

the  coveted  Photoplay  Gold  Medal  for  the  past  two 
years  ? . . .  FOX— last  year  with  John  Ford's  FOUR  SONS 
—  year  before  last  with  Frank  Borzage's  7th  HEAVEN. 
....  Who  cast  the  winning  ballots  for  Gaynor  and 

Farrell  ?  Nobody  but  YOU  Who  has  already 

decided  what  kind  of  pictures  we  will  produce  and 

leading  houses  everywhere  will  feature 
during  the  coming  year?  .  .  .  .YOU,  of 
course  —  because  you  have,  in  terms 
that  can't  be  mistaken,  placed  your  ap- 
proval on  what  FOX  has  done  in  the 
past  and  told  us  what  you  like  . . .  .Will 
you  get  it?  ...  .  Look  at  this  line-up  of 
new  productions  now  on  their  way  to 
you!  ....  Janet  Gaynor  and  Charles 
Farrell  in  OH,  FOR  A  man! — another  sure-fire  hit, 
produced  under  the  masterly  direction  of  the 

man  who  made  SUNNY  SIDE  UP,  David  Butler  

McLaglen  and  Lowe  chasing  WOMEN  OF  ALL 
NATIONS  —  in  the  further  rollicking  adventures  of 
Flagg  and  Quirt — from  the  story  by  Laurence 
Stallings  and  Maxwell  Anderson,  authors  of 
WHAT  PRICE  GLORY.  Direction  by  Raoul  Walsh. 
What  a  line-up!.... Charlie  Farrell  in  his  greatest  part  of  all,  as  Liliom, 


SIXTY 


OTHERS 


AN  D 


MILLION 


CANT 


WRONG 


in  DEVIL  WITH  WOMEN,  from  Franz  Molnar's 
international  stage  success  ....  And  Charlie 
will  also  entertain  you  in  three  other  great 
pictures  during  the  year  —  THE  MAN  who 
CAME  BACK,  with  Louise  Huntington;  THE 
PRINCESS  AND  THE  PLUMBER,  with  Maureen 
O'Sullivan,  the  find  of  the  year;  and  SHE'S 

MY  GIRL,  with  Joyce  Compton  In  UP  THE 

RIVER,  a  new  kind  of  prison  story,  John  Ford 
is  striving  to  surpass  his  own  Photoplay  Gold 
Medal  winner,  FOUR  SONS.  In  this  picture  appears  Cherie,  daughter  of 
Warden  Lawes,  and  a   great  cast  of  established  « 


screen  favorites 


Frank  Borzage,  Gold  Medal 


winner  of  the  previous  year,  will  give  you  four  great 
pictures  —  SONG  O'  MY  HEART,  introducing  to  the 
screen  the  golden  voice  and  vibrant  personality  of 
the  great  Irish  tenor,  John  McCormack  —  two  of 
Charlie  Farrell's  new  pictures,  THE  MAN  WHO  CAME 
BACK  and  DEVIL  WITH  WOMEN  —  and  ALONE  WITH  YOU, 
in  which  Janet  Gaynor  will  insinuate  herself  still 
more  deeply  into  your  affections..  ..The  honor  most 
coveted  by  the  motion  picture  actor  is  the  annual  award  of  the  Academy 
of  Motion  Pictures.  Warner  Baxter  is  the  latest  recipient  of  this  honor — 
won  by  his  magnificent  characterization  of  the  Cisco 
Kid  in  IN  OLD  ARIZONA.  Warner,  lovable  bandit  and 
idol  of  the  feminine  heart,  will  give  you  four  big 
pictures  ....  If  you  saw  Will  Rogers  in  THEY  HAD 
TO  SEE  PARIS,  or  SO  THIS  IS  LONDON,  you  will  cheer  the 
announcement  of  two  more  pictures  by  America's 
incomparable  comic:  A  CONNECTICUT  YANKEE, 
perhaps  Mark  Twain's  funniest  story,  and 
SEE  AMERICA  FIRST  ....  DeSylva,  Brown  and 
Henderson  —  the  Gilbert  and  Sullivan  of 
our  day — will  follow  their  smash  success, 
SUNNY  SIDE  UP  with  JUST  IMAGINE,  clever, 
gay,  tuneful  and  funny.  The  cast  will  be  headed  by  Maureen 
O'Sullivan  and  El  Brendel  ....  We  made  the  pictures — but  YOU 
asked  for  them — and  you  and  sixty  million  others  can't  be  wrong! 


10 


SCREENLAND 


LETTERS 

from  the 

AUDIENCE 


This  is  YOUR  department,  to  which  you 
are  invited  to  contribute  your  opinions  of 
pictures  and  players.  For  the  cleverest 
and  most  constructive  letters,  not  exceed- 
ing 200  words  in  length,  we  offer  four 
prizes.  First  prize,  $20.00;  second  prize, 
$15.00;  third  prize,  $10.00;  fourth  prize, 
$5.00.  Next  best  letters  will  also  be 
printed.  Contest  closes  September  10,  1930. 
Letters  in  praise  of  Screenland  are  not 
eligible  in  this  contest  and  should  be  ad- 
dressed directly  to  the  editor.  Send  your 
Confessions  to  the  Fan's  Department, 
Screenland  Magazine,  45  West  45th 
Street,  New  York  City. 

The  Editor 


FIRST    PRIZE  LETTER 
$20.00 

I  heard  a  brilliant  educator  say,  "We 
save  our  souls  in  our  idle  time."  I  took 
inventory.  Mentally,  I  agreed  with  her 
and  planned  upon  a  change. 

I  am  growing  older.  The  lad  of  my 
youth  long  gone,  my  children  grown.  At 
this  'awakening'  time  we  moved  near  a 
popular  picture  theater.  On  daily  errands 
to  market,  I  managed  to  pass  the  theater 
and  censored  the  headlines.  The  oppor- 
tunity for  salvaging  idle  moments  was  at 
hand.  Mother  was  about  to  step  out, 
at  night,  and  alone. 

I  went.  I  saw,  I  was  conquered.  The 
talkies  are  a  blessing,  bringing  our  stage 
favorites  in  our  choice  plays  and  this  beau- 
tiful gift  we  call  speech  as  an  index  to 
cultivation.  T  have  recaptured  past  joys 
and  best  of  all  I  am  humanizing  my  later 
years.  I  admit,  unashamed,  that  no  young 
modern  can  say  with  more  geniune  feeling, 
"I  love  that  adorable  Warner  Baxter  and 
his  alluring  voice  in  'In  Old  Arizona!'  " 
Mrs.  Mary  A.  Lallande. 
1008  N.  Sweetzer  Avenue, 

Hollywood,  Cal. 

SECOND    PRIZE  LETTER 
$15.00 

Alas  for  those  of  us,  who,  having  been 
born  with  wanderlust  on  our  heels  and 
not  having  been  able  to  shake  it  off,  have 
also  not  been  able  to  meet  the  demands 
of  the  railroad  companies.  What  a  bonanza 
the  movies,  for  us.  How  fine  that  we  can 
see  New  York,  Paris  or  Madrid  in  an  after- 
non  and  be  home  in  time  for  dinner. 

Faked  sets,  you  say?  Maybe  so.  Maybe 
the  Arc  de  Triomphe  is  made  of  paper  and 
stands  on  a  few  feet  of  Hollywood  soil, 
but  so  accurate  is  the  replica  that  only 
the  most  discerning  materialist  stops  to  con- 
sider its  authenticity. 

And  the  romance.  Not  only  of  travel, 
but  of  lives  relived.  Where  is  the  little 
'grey  mother'  today?  At  home?  Not  at 
all.  She's  at  the  movies,  dreaming  that 
John  Gilbert  is  her  John,  (now  fat  and 
a  bit  bald),  or  that  the  slim,  blonde  thing 
is  herself. 

The  movies.  Fountains  of  Youth,  I  call 
them.  And  clean  ones,  too,  if  we  watch 
the  waters  we  bathe  in  and  don't  muddy 
them  ourselves. 

D.  Milicent  Burton, 

3811  Normandy, 
Dallas,  Texas. 

THIRD   PRIZE  LETTER 
$10.00 

After  weeks  of  being  friendless,  jobless 
and  near-penniless,  I  had  neither  the  cour- 
age nor  the  desire  to  continue  my  struggle 


Constance  Bennett's  intelligent  in- 
terpretation   of    the    heroine  in 
"Rich   People"  inspired  one  girl 
of    the  audience  to  success. 


with  Fate.  True,  I  had  learned  the  value 
of  kindness,  gained  by  an  understanding 
of  the  hardships  encountered  by  other 
girls,  an  appreciation  of  ordinary  comforts 
of  life  if  I  ever  should  have  them  again, 
but  the   odds   seemed   to   be  against  me. 

One  evening,  after  an  orgy  of  weeping 
I  powdered  my  nose  and  entered  a  theater 
which  was  showing  Constance  Bennett  in 
"Rich  People."  I  know  not  if  this  was 
considered  a  good  picture,  but  I  do  know 
that  seeing  it  marked  the  turning  point 
in  my  life.  Beautiful,  intelligent,  glamour- 
ous Constance!  She  inspired  me  as  no  Bible, 
books  or  advice  had.  I  took  inventory 
of  myself,  this  time,  not  negative.  What 
was  wrong?  Everything,  of  course,  but 
nothing  that  could  not  be  adjusted.  I 
wasn't  stupid.     I  had  possibilities. 

I  am  back  to  normal  now,  living  com- 
fortably, working,  planning,  with  only  a 
thought  now  and  then  for  that  insane  night- 
mare of  a  few  months  past.  And  all  be- 
cause I  went  to  one  particular  movie,  on 
one  particular  night! 

Iris  Robinson, 
43  5  Montgomery  Street, 
Portland,  Oregon. 

Apt.  20?. 


FOURTH 


PRIZE 
$5.00 


LETTER 


When  I  was  a  very  little  girl  I  lived 
in  a  story-book  world.    First  it  was  fairies 


and  then  the  Arabian  Nights;  as  I  grew 
older  it  was  David  Copperfield,  D'Artagnan, 
Jean  Valjean  and  Ivanhoe.  They  were  so 
real  that  I  could  close  my  eyes  and  flash 
my  favorite  characters  on  the  screen  of  my 
imagination.  They  were  very  real  but  not 
real  enough.  I  wanted  to  know  them,  I 
wanted  them  to  be  alive. 

Now,  I  no  longer  have  to  use  my  imagina- 
tion. Anna  Christie  lives  in  Greta  Garbo, 
D'Artagnan  in  Douglas  Fairbanks,  Disraeli 
in  George  Arliss.  Yet  a  delightful  sense 
of  unreality,  the  same  feeling  that  I  used 
to  have  when  reading  fairy-tales,  remains. 

People  have  laughed  at  me  for  maintain- 
ing that  the  moving  picture  is  an  art,  there 
are  too  many  trashy  ones,  they  say.  That 
is  true.  But  what  about  the  poor  books, 
poor  music  and  poor  pictures  that  are  writ- 
ten, composed  and  painted  every  year? 
The  moving  picture  is  very  young  compared 
to  the  other  arts,  and  still  has  many  cen- 
turies in  which  to  catch  up.  Those  who 
condemn  the  talkies  on  the  ground  that 
they  'squeak'  or  are  hard  to  understand 
fail  to  remember  that  man  himself  does 
not  speak  clearly  until  he  is  four  or  five 
years  old.  What  then  can  one  expect  of 
a  mere  mechanical  invention?  Here's  tc 
the  movies,  I'm  for  them. 

Henrietta  Bruce  Sharon, 
836  Westover  Road, 

Kansas  City,"  Mo. 


A  Constructive  Suggestion 

Before  seeing  a  picture  I  read  the  cast 
of  characters,  but  as  the  picture  unfolds 
I  often  am  struck  by  the  sincerity  and 
cleverness  of  some  minor  actor.  I  try  to 
recall  his  or  her  name  in  the  cast — 
impossible!  I  find  others  as  enthusiastic 
over  this  particular  actor.  "Who  was  it?" 
— we  ask?    But  no  one  knows. 

Many  years  ago  my  wife  and  I  saw  a 
movie  in  which  one  of  the  actors  so  de- 
lighted us  that  we  vowed  we  would  go 
miles  to  see  him  again.  If  his  name  was 
on  the  cast  it  meant  nothing  to  us  for  we 
could  not  recall  it.  We  declared  he  would 
be  a  star  of  the  first  magnitude.  It  was 
the  incomparable  Charlie  Chaplin. 

Suggestion :  Flash  the  cast  on  the  screen 
after  the  movie  as  well  as  before.  This 
will  fill  a  long-felt  want  for  millions  of 
movie  fans. 

W.  C.  Morris, 
Nyack,  N.  Y. 

Praise  for  the  Newsreel  Men 

We  .should  be  eternally  grateful  that  we 
live  in  the  Twentieth  Century.  But  are 
we?  Do  we  appreciate  the  risks  men  take 
in  perfecting  achievements  that  will  be 
handed  down  through  the  years?  Take 
the  "Movietone  News,"  for  example.  It 


for    September  1930 


11 


RICHARD 


BARTH  ELM  ESS 


GREATEST   AIR    EPIC  EVER! 

Five  thousand  feet  up!  .  .  .  Forty  whirring, 
purring  propellers  singing  a  song  of  death. 
Forty  roaring,  streak-fast  war-eagles  making 
a  shambles  of  the  sky.  Forty  youngsters 
sporting  with  fate  —  for  they  must  live 
greatly,  or  not  at  all!  .  .  . 

Forty  famous  stunt  flyers  helped  Dick 
Barthelmess  crowd  "The  Dawn  Patrol"  with 
more  thrills  than  you'd  get  in  a  dozen  actual 
flights.  And  the  author  of  w Wings"  has 
packed  the  story  with  heart-throbs  such  as 
only  heroes  know!  "Take  off"  to  "  The  Dawn 
Patrol"  the  minute  it  comes  to  town. 


A  FIRST  NATIONAL  &-VITAPHONE  PICTURE 


12 


SCREENLAND 


is  only  a  secondary  affair  to  many  picture 
patrons;  to  me,  it  is  a  schooling  in  itself. 
One  doesn't  need  a  newspaper  to  see  or 
read  about  important  events.  It  is  only  nec- 
essary to  go  weekly  to  the  local  theater 
and  find  there  portrayed  vividly  and  realis- 
tically the  important  happenings  from  all 
over  the  world.  Yet  we  never  stop  to 
think  how  hazardous  a  job  the  cameramen 
may  have,  taking  risks,  flirting  with  death, 
to  picture  for  us  the  news  of  the  Universe, 
making  it  possible  for  us  to  have,  if  we 
will,  this  liberal  education. 

Elizabeth  M.  Sheridan, 

31   Welles  Avenue, 
Dorchester,  Mass. 


Bermuda  Speaking 

Here's  a  fan  letter  from  a  little  emerald 
isle,  set  in  a  topaz  sea.  A  paradise!  Yet, 
it  was  dull  heaven.  Bermuda  lacked  some- 
thing.   Yes!  the  talkies — now  we  have  them. 

Our  evenings  are  now  pleasantly  filled 
with  "Broadway  Melodies,"  and  we're  look- 
ing forward  to  John  McCormack  with  his 
wonderful  tenor  voice.  Speaking  of  voices, 
too  many  of  the  actresses'  voices  are  sadly 
alike.  One  star  I  have  really  enjoyed  hear- 
ing talk  was  Lila  Lee  in  "Flight."  How- 
ever, I'm  all  for  talkies,  and  the  snappier, 
peppier  and  jazzier  they  are  the  better  I 
like  them. 

Technicolor  makes  pictures  a  hundred 
percent  more  attractive.  It  makes  them  so 
real  and  so  beautiful. 

What's  wrong  with  movies?  Plenty! 
Yet  we  all  love  'em.  I  for  one,  am  an 
out-and-out  fan. 

Ray  Moss 
"Mt.  Erie," 
St.  Georges, 

Bermuda. 


The  Story's  the  Thing 

I  want  to  add  my  bit  to  the  talk  that's 
been  going  on  about  John  Gilbert.  Not 
because  I  worship  at  his  shrine  but  because 
I  believe  him,  to  be  a  good  actor. 

His  two  talking  vehicles  have  been  medi- 
ocre 'tis  true,  but  through  no  fault  of  his. 
The  fault  was  in  giving  him  stories  and 
leading  women  not  suited  to  him.  In  "Re- 
demption" there  was  one  outstanding  scene, 
the  courtroom  scene,  which  showed  what 
he  really  could  do  if  he  had  a  chance. 
But  why  must  he  be  continually  cast  in 
great  lover  roles  when,  (to  my  mind),  his 
two  best  pictures  were  "Cameo  Kirby"  and 
"The  Big  Parade?" 

The  story's  the  thing.  A  picture  should 
be  created  as  a  book  is  written.  A  good 
plot  and  the  story  well  told  by  characters 
especially  chosen  for  their  parts.  The  pro- 
ducers in  their  choice  of  a  story  can  make 
or  break  a  star.  They  spend  weeks  in 
producing  a  picture.  Why  not  spend  some 
time  first  in  choosing  the  right  story?  Why 
not  a  special  staff  who  do  nothing  but  read 
plays  and  who  specialize  in  choosing  stories 
to  suit  the  personalities  of  the  players  who 
are  to  portray  the  characters? 

Mrs.  Deston  Albright, 

North  Street, 
Delmar,  N.  Y. 


Wants  Peace  at  Movies 

Something  should  be  done  about  the  habit 
people  have  of  making  public  eating-houses 
and  nurseries  out  of  even  the  best  theaters. 
While  seeing  "The  Floradora  Girl"  I  missed 
half  the  conversation  because  of  the  dis- 
turbance around  me.     On  my  right,  sat 


John  Gilbert's  audience  is  a  large 
and  loyal  one.    Give  him  stories 
that  suit  him,  they  ask.    Jack  can 
do  the  rest. 


a  fat  woman  rustling  a  bag  of  candy  at 
the  most  interesting  moments.  Across  the 
aisle  a  baby  was  protesting  noisily  at  being 
kept  out  after  its  bedtime.  When  the  fat 
woman  finished  her  candy  she  bestowed  the 
bag  upon  her  .small  daughter  who  spent 
the  rest  of  the  time  trying  to  'blow  up' 
the  bag. 

Where,  I  ask  you,  should  a  person  expect 
peace  if  not  at  a  movie? 

B.  Miller, 
Hotel  Durant, 
Berkeley,  Cal. 


"Caught  Short"  a  Blues  Chaser 

Have  you  ever  been  a  stranger  in  a 
strange  city — walking  around  in  a  hotel 
room  like  a  bird  in  a  gilded  cage?  Such 
was  my  plight.     In  fact,  the  situation  so 


The  outstanding  feature  in  Richard 
Barthelmess'  art  is  his  naturalness, 
his  ability  to  live  his  roles,  say 
his  admirers. 


got  on  my  nerves  that  I  was  miserable.  In 
this  state  I  picked  up  a  paper  where  I  spied 
an  entire  page  devoted  to  a  picture  called 
"Caught  Short"  being  shown  at  one  of 
the  local  theaters.  It  sounded  so  amusing 
that  I  went.  I  saw.  I  was  cured.  Did 
I  laugh?  I  am  still  laughing.  Don't  tell 
me  that  pictures  are  not  a  boon!  The 
screen  puts  the  world  before  our  eyes, 
and  the  poor  as  well  as  the  rich  can  enjoy 
the  treats. 

Yes,  pictures  help  us  to  keep  our  'Sunny 
Side  Up,'  and  to  'Paint  the  Clouds  with 
Sunshine.' 

"Give  me  a  sense  of  humor,  Lord! 
Give  me  the  grace  to  see  a  joke! 
To  get  some  happiness  from  life — 
And  pass  it  on  to  other  folk." 

Mrs.  William  H.  Scherffius, 
3706  North  Charles  Street, 

Baltimore,  Md. 


Amos  'n'  Andy  Preferred 

Just  as  soon  as  I  found  myself  educated 
to  the  point  of  having  a  sincere  apprecia- 
tion of  such  excellent  screen  plays  as  "Beau 
Geste,"  "Chang,"  "Four  Sons,"  "The 
Crowd"  and  so  on,  I  am  confronted  by  the 
most  glaring  inconsistencies  and  all  for  the 
sake  of  hearing  (in  most  instances)  mediocre 
singing. 

In  one  talkie,  the  young  hero  asks  the 
girl  what  cute  dance  piece  that  is  the 
orchestra  is  playing.  She  tells  him  and 
sings  the  first  verse  and  chorus.  Then  our 
hero  obliges  with  a  solo  (second  verse  and 
chorus),  and  does  he  know  all  the  words? 
Oh,  yes!  Musical  comedies  never  were 
rated  for  the  excellency  of  their  plot  and 
we  make  due  allowance  for  this,  but  why 
must  we  have  so  many  of  them? 

Charlie  Chaplin  is  right  about  the  superi- 
ority of  the  silent  picture  (as  conditions  are 
today).  Story  has  been  sacrificed  to  the 
theme  song. 

When  McCormack  er  Tibbett  sing,  the 
plot  can  thicken  or  disintegrate  but  unless 
they  do,  Im  going  to  stay  home  and  tune 
in  on  Amos  'n'  Andy. 

B.  H.  Christopher, 
No.  2  Dell  Street, 
Hot  Springs,  Ark. 


Again,  Chevalier ! 

Who  is  this  1930  Prince  Charming  who 
hath  laid  siege  to  our  movie-hearts?  'Tis 
Chevalier  that  naively  sophisticated  gentle- 
man from  gay  Paree!  If  you  have  seen 
him  in  "The  Love  Parade,"  well,  I  know 
that  you,  too,  have  succumbed  to  his  de- 
vastating smile.  He  is  a  man  of  the  world, 
yet  withal  his  is  doubtless  the  most  boy- 
ishly arresting  personality  seen  on  the  screen 
in  many  a  weary  day. 

I  have  moments  of  wishing  to  meet  this 
Prince  Charming,  but  in  my  heart  of  hearts 
I  believe  I  prefer  to  leave  him  just  a 
shadow,  a  fascinating  illusion  of  the  silver 
screen.  Dreams  (to  the  dreamer)  must  ever 
be  sweeter  than  realities. 

Monsieur  Chevalier,  your  naive  roman- 
ticism is  a  delight  to  our  hearts  and  your 
boulevard  accent  a  joy  to  our  ears! 

Adele  Louise  Simonds, 

P.  O.  Box  1232, 
Hollywood,  Cal. 


Sound  Pictures  Bring  Reality 

For  years  I  had  been  cherishing  the  hope 
of  going  abroad,  of  .traveling  around  the 
{Continued  on  page  106) 


for    September  1930 


13 


hi 


RADIO  P»CTURES  Challenge  I 
The  Entertainment  wo 


rt,is  year,  can  look  to  the  Rodto 
ICTURE  goers,  ttm  y« '  ■  ;„  scree„  en- 

pittures  wdemork  to      ^  (here  bM„  sueh 

of  S*. 

an  array  ot  ^  svraOS  'N' 

Heading  ^^PJOCe^h:0oT:hSe  air,  in  their 
ANDY,  invincb  e  monarchs  o  ^  .n 

first  talking  P-cture.  A  red 

screen  history! 

will  be  presented  on  o  c©  ictur.sqoe  role 

empire  brings  R1CHA™0D        poet  in  buckskm, 

«^JS£«£«-     moke  h,s" 

tory  in  a  day.  nnceof  old  New 

"DlXlANA,"  g'am°;°mUeS  stents  BE5E  DANIELS, 
Orteons  in  ^^~Hton  Opera  star;  Bert 
EVERETT  MARSHALL,  ^etrop  d  others 

Wheeler,  Robert ;  WooUey^and fOYlAND  ' 
Victor  Herbert's  ^^'^ravaganza.  "HALF 
will  be  the  year's  -p  eme  ex  9^  d 
SHOT  AT  SUNRISE   fea!u"n:»  -s  comedy 

ROBERT  WOOLSEY,  promises  the 

sensation.  HORDE"  and  John  Gals- 

Rex  Beach's  "THE  SlLVER^ORD  rf  author. 

worthy's    ESCAPE  more  attract.ons 

ship  in  Productions  rf  ^ d 

of  equal  mer.t  owa.t  you  -  *  minds  in  the  talk.ng 
the  creative  gen.us  o  r  the  ^  pro<J  hons 


A 


RADIO 
PICTURES 

"TITANS  OF 
THE  SCREEN 

r  K  O  Distributing 

Corporation 
(Subsidiary  of  Radio 
Corp.  of  America) 
1560  Broadway 
NeW  York  City 


in  knowing  your  wisn  wanf 


Brings  BEBE  DANIELS  ™mantic  spectac,e 
1,000  others  in  a  supreme 


14 


SCREENLAND 


IVAN  SPEERS 

SALE4S0OK'  Co- 


The  College  Movie  Star  Comes  to  Niles  Junction 

By  special  permission  of  COLLEGE  HUMOR 


for    September    1  9  3  0  15 


At  Last  The  Great  Broadway  Hit 
Comes  To  The  Talking  Screen 


its  pulsing  youth,  its  songs,  its  pep,  its  loves,  its  pus-fuLl  of  cute  co-eds  and  capering  collegiates. 

laughter— crowded  into  one  never-to-be-forgot-  Marvelous  music    by  De  Sylva,  Brown  & 

ten  picture.  A  cocktaU  of  hilarious,  riotous  Henderson.  "The  Best  Things  in  Life  are  Free", 

entertainment!  «The  Varsity  Drag "  and  others.  Mirth!  Melody ! 

What  a  cast!  Bessie  Love,  of  "BROADWAY  Speed!  That's  "GOOD  NEWS"! 

MELODY"  fame;  Gus  Shy,  who  starred  in  the  Scenario  by  Frances  Marion— Dialogue  by  Joe  Farnham 


r. 


16 


SCREENLAND 


THIS  ... 
HONOR  PAGE 

is  dedicated  to 

Rear-Admiral 
Richard  E.  Byrd, 

U.  S.  N. 


BECAUSE:  his  motion  picture, 
"With  Byrd  at  the  South  Pole," 
will  inspire  the  small  boys  of 
America,  and  the  world,  as  no 
crook  melodrama  or  'western'  has 
ever  done;  because  as  the  star  of 
his  Antarctic  epic  he  shares  his 
honors  with  an  unrivalled  cast 
composed  of  gallant  men,  heroic 
huskies,  and  comedy  penguins — 
those  Chaplins  of  the  bird  family; 
and  because  his  fine  and  modest 
screen  presence  sets  a  splendid 
example  to  the  professional  actors 
of  Hollywood — and  to  all  the 
rest  of  us. 


for    September  1930 


17 


m 

■'  ■  ! 

■0 

IH|r 

f2 

IPII 

____ 

THE  EDITOR'S  PAGE 


A man  named  Jules  Verne 
once  wrote  some  fantas' 
tic  stories,  among  them 
"Twenty  Thousand 
Leagues  under  the  Sea,"  "A  Trip 
from  Earth  to  Moon,"  and 
"Around  the  World  in  Eighty 
Days."  They  rehearsed  the  adven- 
tures of  puny  Man  in  his  battle 
against  Mother  Nature,  with  Man 
winning.  Silly,  some  people  said; 
but  rood  reading. 


C  Jules  wasn't  so  crazy.  He  was 
just  far-sighted.  He  foresaw  the 
invention  of  the  airplane  and  the  submarine;  it's 
too  bad  he  couldn't  have  stuck  around  long  enough 
to  take  a  ride  in  them.  Even  Verne,  though,  didn't 
dream  of  the  latest  developments.  You  could  have 
knocked  him  over  with  a  feather  if  you'd  told  him 
that  a  great  explorer  would  one  day  fly  over  the 
South  Pole  and,  almost  before  he  had  even  returned 
from  his  expedition,  motion  pictures  of  his  flight 
would  be  shown  on  a  hot  summer  day  in  a  theater 
artificially  cooled  to  a  temperature  of  711,4  degrees! 
We  saw  the  movies  of  Byrd's  Antarctic  exploit  be- 
fore the  confetti  had  been  cleaned  up  after  his  Big 
Parade.  And  when  I  watched  all  those  people 
looking  and  listening  with  such  rapt  attention  to 
this  great  screened  adventure  I  began  to  think  of 
the  screen  more  seriously  than  I  ever  had. 

K  It's  a  good  thing  to  be  reminded  that  all  that 
movies  is  not  Hollywood.  "With  Byrd  at  the 
South  Pole"  is  an  epic  drama  and  its  only  connec- 
tion with  Hollywood  is  a  couple  of  cameras.  When 
you're  deploring  the  gangster-girls-and-music-col- 
legiate  movies,  don't  forget  that  the  Byrd  film,  too, 
is  a  motion  picture.  Judge  the  screen  rather  by  a 
picture  like  "With  Byrd  to  the  South  Pole"  than 
by  "Ingagi"  and  "Unguarded  Girls." 

<C  If  you're  still  not  convinced — the  new  amuse-' 
ment  centre  to  be  built  in  the  heart  of  Manhattan 
should  convert  you.  A  great  Radio  City  will  rise 
on  three  square  blocks  between  Forty-eighth  and 
Fifty-first  Streets  and  Fifth  and  Sixth  Avenues, 


New  York  — $250,000,000  of 
ground  values,  the  largest  real 
estate  project  yet  conceived  by 
private  interests.  The  site  was 
originally  assembled  by  John  D. 
Rockefeller,  Jr.,  for  a  new  Met- 
ropolitan Opera  House,  but  the 
Opera  decided  to  stay  in  its  Old 
Manse  on  Broadway  at  Thirty- 
ninth  Street;  and  I  think  it's  mak- 
ing a  big  mistake.  Of  course,  I 
may  be  wrong;  but  it  hardly  seems 
smart  for  Opera  to  sit  back  behind 
its  old  brown-stone  front  and  let 
the  radio-movies-television  walk 
away  with  the  choicest  site  in  the  world.  Grand 
Opera  had  better  sit  up  and  look  around  or  the 
soundies,  with  their  modern  improvements,  will 
grab  all  the  glory,  gate  receipts,  and  our  best  peo- 
ple. Art  is  so  much  more  convincing  when  absorbed 
in  comfort;  and  compared  with  the  chairs  at  the 
Met,  those  loge  seats  at  the  Roxy  are  cushions  in 
Paradise. 

C  And  speaking  of  Roxy.  He's  to  have  a  big  new 
job  when  his  present  contract  expires.  He  is 
slated  for  the  managing  directorship  of  the  gigantic 
new  enterprise.  This  centre  will  have  a  motion 
picture  auditorium  seating  5,000;  another  theater 
seating  7,000;  a  huge  symphony  hall,  with  Leopold 
Stokowski  conducting  a  great  orchestra. 

Dedicated  to  'culture,  education,  and  entertain- 
ment,' the  four  theaters  of  the  centre  will  play 
not  only  to  New  Yorkers,  but  by  grace  of  micro- 
phone and  televisor  will  reach  an  additional  audi- 
ence of  unseen  millions. 

<C  Do  a  Jules  Verne!  Let  your  imagination  run 
riot — it  can't  run  too  far.  By  the  time  Lindy's 
baby  is  grown  up  enough  to  go  to  the  movies, 
they  will  have  changed  so  much  that  the  early 
pictures  of  Lindbergh,  Sr.  in  The  Spirit  of  St. 
Louis  will  look  like  museum  pieces.  And  Little 
Lindy  will  laugh  and  say:  "Gosh,  Dad — and  you 
called  those  movies!" 

D.  E. 


18 


SCREENLAND 


Miss  Unknown — Armstrong's  idealization  of  fem- 
inine beauty.  She  is  no  one  woman,  but  the 
beauty  of  all  lovely  women!  No  one  model  posed 
for  her.  She  is  a  creation  of  the  artist's  imagina- 
tion.   Turn  to  our  cover  and  see  her  in  color. 


Beauty  Is  Fate 


By 

Rolf  Armstrong 


What  is  your  ideal  of  beauty? 
Did  you  ever  see  a  perfectly  beautiful 
woman? 

Are  movie  stars  the  most  beautiful 
women? 

Who  is  the  most  beautiful  screen  star? 
What  is  the  most  important  element 

of  beauty? 
Can  any  woman  be  beautiful? 

The  above  questions  are  just  a 
few  scattered  shots  from  the 
barrage  forever  leveled  at  an 
artist  who  becomes  known  for 
his  paintings  of  feminine  beauty. 

Years  of  study  and  analysis  have 
convinced  me  that  beauty  is  a  sheer, 
cruel,  uncontrollable  accident  of  birth. 
It  exists  primarily  in  a  rigid,  definite 
combination  of  architecture  and 
mathematics.  It  is  structure  —  so 
many  inches  from  brow  to  chin;  from 
cheek  bone  to  jaw;  just  so  much  space 
between  the  eyes  —  proportions  im- 
mortalized  centuries  ago  by  Greek 
sculptors.  So  inspired  was  their  stan- 
dard,  that  it  still  remains  the  rule 
by  which  beauty  is  measured. 

Beauty  is  dependent  upon  the  cap- 
rice  of  the  gods,  who  deal  it  out  hap' 


Is  This  the 

Rolf  Armstrong,  famous  artist, 
offers  his  Cover  Girl  as  the  ideal 
of  feminine  loveliness.  If  she 
could  come  to  life  would  she  be 
the  super  screen  beauty,  surpass- 
ing them  all?  Do  you  agree  with 
Armstrong,  or  have  you  a  screen 
favorite  who  eclipses  her? 

EDITOR'S  NOTE: 

Rolf  Armstrong  is  an  acknowledged  authority  on  feminine 
beauty.  Perhaps  more  than  any  other  artist  in  America  he  is 
noted  for  his  exquisite  cover  girls.  He  has  been  drawing 
Screenland's  vivid  covers  and  has  at  one  time  or  another  painted 
every  well-known  lovely  woman  on  the  screen.  Now,  out  of 
his  boundless  artistry  and  imagination,  he  conceives  a  Face — 
which  he  says  approximates  his  ideal  of  beauty.  We  put  this 
Perfect  Beauty  on  our  cover.  We  like  her.  We  think  you  will 
like  her,  too !  Now  read  Rolf  Armstrong's  article  in  which  he 
tells  you  of  some  of  the  famous  screen  beauties  he  has  drawn 
and  answers  some  of  the  questions  you  have  been  asking  him. 


Right:  Here  is  the 
Irish  beauty,  much  of  it 
sheer  Gaelic  charm,  of 
Nancy  Carroll.  Arm- 
strong says:  "Her  eyes 
were  made  for  an  artist 
to  draw." 


Above:  Mary  Nolan,  of  whom  the 
artist  says:  "Her  head  speaks  bal- 
anced structure   in   tenderer  terms." 


Right:  the  dusky  loveliness  of  Evelyn 
Brent,  one  of  the  women  of  the  screen 
selected  as   outstanding  beauties. 


for    September  1930 


19 


Perfect  Screen  Face? 


hazardly,  with  no  regard  for  wealth,  birth,  or  justice. 
They  give  one  woman  the  terrible  weapon  of  beauty,  and 
withhold  it  completely  from  her  sister.  Here,  they  may 
choose  to  create  a  gargoyle,  thereby  dooming  some  lovable 
character  to  loneliness  and  heartbreak.  Perhaps  their  cruel- 
lest jest  is  giving  some  woman  a  promise  of  beauty,  and 
then  contradicting  it  with  too  long  a  nose  or  upper  lip, 
eyes  close  set,  or  a  bulging  forehead.  But  when  the 
mood  of  the  gods  happens  to  be  kind,  they  can  etch  a  brow, 
or  carve  a  mouth  to  make  men  dream.  A  woman  is  born 
with  this  beauty — or  without.    Beauty  is  Fate. 

While  I  have  never  seen  what  I  consider  a  flawlessly 
beautiful  woman,  many  of  my  most  vivid  impressions  of 
an  approach  to  ultimate  beauty  are  associated  with  my 
closely  studied  portraits  of  the  screen  stars. 

Evelyn  Brent  and  Ann  Harding  are  the  screen's  best 
examples  of  almost  perfect  harmony  of  proportion  follow- 
ing the  classic  pattern.  Mary  Nolan's  head  speaks  balanced 
structure  in  tenderer  terms — Billie  Dove's  adds  prettiness. 

Superlative  moments  of  dark,  romantic  beauty  are 
glimpsed  in  Mona  Maris.  Nancy  Carroll's  eyes  were  made 
for  an  artist  to  draw. 


A  new  portrait 
of  Rolf  Arm- 
strong, whose 
covers,  gracing 
SCREENLAND 

Magazine  and 
College  Humor, 
have  attracted 
world  -  wide  at- 
tention for  their 
artistic  interest 
and  their  warm, 
human  quality. 


Ann  Harding  is  one  of  the  two 
best  examples  among  screen 
beauties  of  almost  perfect  har- 
mony of  proportion  following 
the  classic  pattern.  Evelyn 
Brent  is  the  other. 


Above:  superlative  moments  of 
dark,  romantic  beauty  are  glimpsed 
in   Mona   Maris,  says   our  artist. 


Left:  Estelle  Taylor's  head  reaches 
beauty  in  the  contour  of  her  mouth, 
according  to  Armstrong. 


Estelle  Taylor's  head,  while  not 
perfect  structurally,  reaches  outstand- 
ing beauty  in  the  contour  of  her 
mouth.  Many  other  stars,  also,  are 
blessed  with  some  single  feature  that 
reaches  such  perfection  as  to  cast  an 
undeniable  aura  of  beauty  about  them. 

Beauty  is  not  limited  to  the  screen 
however.  In  my  continual,  though 
somewhat  subconscious  quest  for 
beauty,  I  have  learned  the  impossi- 
bility of  predicting  where  it  will  mani- 
fest itself.  Beauty  lived  for  me  in  a 
blonde  girl  from  Norway.  From  New 
York's  squalid  Ghetto  came  the  clear- 
est skin  I  ever  saw.  There  was  a 
Polish  girl  from  the  Bronx,  and  a 
pale  Parisienne  whose  only  address 
was  a  sidewalk  cafe.  A  head  of 
sublime  architecture  came,  not  from 
Athens,  Greece,  but  from  Athens, 
Georgia.  Once,  in  a  subway,  I  glanced 
up  to  find  myself  looking  at  a  girl 
I  was  to  use  many  times  on  magazine 
covers.  A  slim-throated  Park  Avenue 
deb  epitomized  the  beauty  of  line.  I 
can  never  forget  the  sheen  of  a  cafe 
au  lait  colored  dancing  girl  I  saw  in 
the  Pyrenees,  nor  the  Thais  curves 
that  belonged  to  La  Belle  Gersane, 
an  unknown,  in  a  vagabond  company 
that  played  one  night  in  Florence. 

Occasionally  I  make  these  memories 
that  are  stored  away  in  my  artistic 
consciousness,  the  motif  for  a  draw- 
ing. The  girl  on  this  month's  cover 
of  Screenland  is  one  of  these  ad- 
ventures. 


20 


SGREENLAND 


Broadway  photograph 
oy  Broivn  Bros. 


Left:  Broadway,  in  the 
good  old  days  before  the 
motion  picture  invasion. 
Then,  the  theaters  of  the 
Great  White  Way  housed 
'legitimate'  attractions, 
enacted  by  stage-trained 
thespians.  Between  per- 
formances you  might 
glimpse  such  stars  as  Ruth 
Chatterton,  Frank  Fay, 
Marilyn  Miller,  Paul 
W hiteman,  hurrying  hither 
and  yon.  Where  are  they 
now?  All  gone  west  to 
answer  the  call  of  the 
golden  cameras! 


All  Quiet 


o  n 


the 


Time  was  when  revelry  rode  through  our  town. 
The  beauty  and  the  chivalry  of  all  the  arts 
thronged  the  one-time  pasture  lots  of  old-time 
fur-trappers  and  ferry-men — the  Astors,  the  Van- 
derbilts.  Then  came  a  rumbling  roar  from  Hollywood. 
It  was  Conrad  Nagel  chasing  Dolores  Costello  around  the 
microphone. 

"Have  you  no  thithter  of  your  own?"  Hthped  the  future 
Mammy  of  Dolores  Ethel  Barrymore. 

And  before  one  could  murmur  'Code-of-Ethics,'  the 
chivalry  had  flown  to  rescue  Dolores.  And  the  beauty  to 
rescue  Conrad  from  a  fate  worse  than  death.  Broadway 
was  stripped  of  life  and  laughter.   Well,  practically! 

In  common  with  Joe  Schenck,  Adolph  Zukor,  Louis 
Mayer,  and  everyone  else  except  the  Warner  Brothers, 
I,  'Old  Rip1  Van  Cruikshank,  continued  to  enjoy  being 
asleep  at  the  switch.  But  just  about  the  time  Joe  had 
sold  the  last  of  United  Artists1  silent  pictures,  and  ad- 
mitted that  there  might  possibly  be  something  to  these 
here,  now,  talkies,  I,  too,  made  the  Great  Discovery.  It 
happened  this  way. 

The  newsboys  were  selling  Sunday's  papers — so  it  must 
have  been  Friday  morning.  I  sauntered  to  a  spot  to  drink 
a  little  breakfast — expecting,  of  course,  to  find  Frank  Fay 
in  his  accustomed  place.  For  months  Frank  had  been 
there.  He  was  as  much  a  part  of  the  place  as  the  auto- 
graphed picture  of  Jack  Dempsey.  Frank  was,  in  fact, 
one  of  the  Old  Settlers.  (Frank  always  settled.)  But 
now  he  was  among  the  missing. 

"Where  is  Broadway's  Favorite  Son?"  I  queried. 

"Gone  west,"  was  the  laconic  reply. 

"Well,  well,  poor  old  Frank.    How  did  it  happen?" 


If  Broadway  is  just  a  deserted 
talkies  for  enticing  the  stage 
icier  Cruikshank  sheds  a 
the  exodus— and  on  page  26 
what  happens  to  former 

By  Herbert 


"Oh,  he  got  a  talkie  contract  and  hopped  out  to  Holly- 
wood." 

"Hollywood?  Talkies?" 

Luckily  it  was  too  early  for  any  chickens  to  be  about 
— for  I  could  have  been  knocked  over  with  a  feather.  But 
there  it  was — Frank  Fay,  the  Pillar  of  the  Palace,  had 
gone  to  Hollywood. 

The  fragment  of  conversation  outlined  may  be  expanded 
indefinitely.  In  fact  it  was,  before  I  determined  to  con- 
firm what  couldn't  be  more  than  an  idle  rumor.  I  sought 
Paul  Whiteman — Eddie  Buzzell  and  Ona  Munson — Gilda 
Gray — Joe  Frisco- — Claire  Luce — Marie  Saxon — Lenore 
Ulric  and  Sidney  Blackmer — Mary  Eaton — all  the  gay 
gang  that  had  tired  business  men  and  amused  Broadway 


for    September  1930 


21 


Right:  as  Broadway  looks 
today  to  Herbert  Cruik- 
skank!  He  says  it's  more 
like  a  deserted  village 
than  theatrical  Manhattan's 
Main  Street.  His  buddies 
have  vanished  into  the 
Hollywood  wilds,  lured  by 
gold  and  glory.  The  lone 
street-car  is  doubtless  con- 
veying Mr.  Cruikshank  to 
some  lonely  rendezvous 
with  the  only  stage  star 
left  in  New  York — (in 
town  for  a  rest  between 
picture  engagements! ) 


Broadway  Front 


village  these  days,  blame  the 
stars  to  Hollywood.  Chron- 
satirical  tear  or  two  over 
Ruth  Tildesley  tells  you 
Broadwayites  in  Filmtown 

Cruikshank 


and  one  another  since  long  before  Earl  Carroll  came  up 
N'oth  from  dear,  old  Gawgia. 

All  I  heard  was  Hollywood — Vitaphone— Warner 
Brothers.  Old  Brigham  Jolson  had  led  the  hegira  to  the 
promised  land  of  bilk  and  money.  But  there  was  one 
Temple  of  Art  that  I  knew  would  house  the  truth.  Florenz 
Ziegfeld,  who  invented  femininity — Florenz  Ziegfeld,  glori- 
fier  of  gaiety — Florenz;  Ziegfeld,  who  put  the  way  in 
Broadway.  Flo  would  tell  me  what  in  Hollywood  all  the 
shootin'  was  for! 

But  his  office  door  was  closed — and  young  girls  had 
grown  old  waiting  in  the  ante-room.  (Called  the  ante- 
room  because  so  many  things  have  been  raised  there.) 
On  the  stairs  I  encountered  Mr.  Goldwyn — Sam,  to  you. 


And  I  asked  him. 

"I'm  amazed  at  your  stupidity,"  he  said,  "but  Fll  tell 
you  in  two  words  where  Ziegfeld  is." 

"Where?" 

"Hollywood!" 

This  was  too  much.  It  sounded  like  bologny.  But  the 
wurst  was  yet  to  come.  Everywhere  I  looked — Zani's, 
Charlie  Murphy's,  the  Aquarium,  Mike's,  Tony's,  Sardi's, 
the  Warwick,  the  Algonquin,  the  Astor,  Ambassador,  the 
Savoy  Plaza — not  a  face  familiar  to  me  or  the  cab-horse 
of  'Mississippi,'  the  ancient  Ethiopian  whose  lone  hack  is 
the  last  of  night-life  on  Broadway.  From  Wilson  Mizner 
to  Arthur  Caesar,  their  forwarding  address  was  Holly- 
wood. Only,  of  course,  Arthur  hadn't  left  any  address, 
and  I  only  learned  of  him  through  a  horse-dealer  from 
whom  he  had  ordered  a  batch  of  polo  ponies  shipped  out. 

Barbara  Stanwyck,  Basil  Rathbone,  Ruth  Chatterton, 
Chester  Morris,  Ina  Claire,  John  Boles,  and — believe  it 
or  not — Gus  Edwards,  Joe  Weber,  Lew  Fields — all  that 
remained  of  them  were  caricatures  in  Sardi's.  Faces  on 
the  restaurant  wall! 

Paul  Muni,  nee  Weisenfreund,  Bee  Lillie,  Charlie 
Ruggles,  Marilyn  Miller,  Jack  Buchanan — gone!  All  gone! 
Helen  Morgan  told  me  so — and  dashed  from  the  Tavern 
for  the  Long  Island  movie  studios.  Just  a  pause  in  the 
dizzy  dance  toward  the  Pacific. 

And  that  wasn't  all.  Tin  Pan  Alley  went  silent.  Not 
a  song  bird  remained  from  Al  Bryan  to  Irving  Berlin. 
Not  a  lyric  writer.  Not  a  plugger.  Not  even  a  piano- 
player.  Each  and  every  one  was  sitting  on  his  patio  along 
the  Pacific  Palisades,  hearing  the  sweetest  melody  of  iced 
mint  juleps,  and  minted  gold  also   (Continued  on  page  108) 


22 


Madame  Ernestine  Schumann-Heink,  young  at  69!  She  sang  at  the 
Roxy,  New  York,  her  first  appearance  on  the  stage  of  a  screen 
theater.    She  may  make  a  talking  picture,  repeating  her  successes 
in  opera  and  concert  and  winning  a  larger  audience. 


BEFORE  the  purple  backdrop  of  the  largest  stage  in 
the  world  stood  a  large  woman  in  a  vivid  pink 
dress,  firm  hands  firmly  clasped,  strong  head, 
strongly  erect. 

This  woman,  mother  of  eight,  was  singing  a  lullaby. 
A  lullaby  by  Brahms,  a  man  who  never  had  any  children; 
a  man  who  out  of  dreams  denied  composed  many  a  cradle 
song  to  comfort  his  heart. 

It  was  a  miracle  the  way  the  woman  sang !  The  way 
her  voice  rose  to  a  full,  magnificent  'g,1  and  then  sank 
down,  down,  down,  an  unending  stairway  of  musical 
tenderness.  A  miracle  because  although  the  art,  the 
technique,  the  grand  manner  are  all  there,  the  woman  had 
been  singing  for  fifty'two  years.     And  time  and  hard 


SCREENLAND 

Four 

More  music,  less  mur- 
der! says  Schumann- 
Heink,  who  celebrated 
her  69th.  birthday  by 
making  her  debut  on  a 
motion  picture  theater 
stage 

By 

Rosa  Reilly 


work  steal  from  the  tones  of  the  voice, 
just  as  they  do  from  the  freshness  of 
the  cheek  and  the  luster  of  the  eyes. 

But  scarcely  a  person  out  of  all  the 
six  thousand  in  the  audience  realized 
this,  for  real  art  has  no  age,  and  a  real 
artist  can  conquer  any  limitation.  As 
the  woman  brought  her  Wegenlied  to 
a  close,  for  a  half-moment  that  vast 
mass  of  people  was  silent.  Then  like  a 
flash,  the  multitudes  broke  out  into 
applause,  cries,  whistles — a  stampede  of 
white-hot  enthusiasm.  The  woman  made 
a  bow  and  left  the  stage.  Only  to  be 
recalled  again  and  again,  and  still  again. 
At  last,  she  raised  her  strong,  splendid 
arms,  as  if  to  enfold  them,  and  said: 
"My  friends:  I  am  so  happy  to  be  here, 
singing  for  you,  I  can  hardly  speak. 
My  throat  is  full  of  tears.  Tears  of 
happiness." 

And  so  it  was  that  Madame  Ernestine 
Schumann-Heink,  one  of  the  greatest 
contralto  prima  donnas  the  world  has 
ever  known,  made  her  debut  on  the 
stage  of  a  talkie  theater,  at  the  Roxy 
in  New  York  City,  on  her  sixty-ninth 
birthday. 

Two  days  afterward,  I  talked  with  Schumann-Heink  in 
her  dressing  room,  where  she  was  resting  between  appear- 
ances—four of  which  she  must  make  each  day.  In  her 
charming  broken  English,  she  said: 

"My  great  career  is  over,  my  career  in  the  opera  houses 
of  the  world.  But  my  happy  career  has  just  begun.  My 
career  of  singing  for  talking  picture  audiences.  How  I 
regret  that  I  did  not  do  it  years  ago!  Think  what  I  have 
been  missing  all  this  time!  But  thanks  to  Roxy,  and  to 
my  manager,  George  Engels,  Vice  President  of  the 
National  Broadcasting  Company,  I  have  at  last  reached 
the  climax  of  joy." 

Madame  presents  an  interesting  picture,  even  at  sixty- 
nine.    She  has  the  snappiest  of  brown  eyes,  thick  iron 


for    September  1930 


23 


-A-DAY  AT  69! 


gray  hair,  and  an  almost  unlined  face.  Her  whole  per- 
sonality breathes  vigor,  sturdiness,  energy,  unfailing  health. 
She  smiles  frequently  and  her  eyes  twinkle  constantly. 
She  appears  a  woman  in  her  early  fifties. 

"I  don't  feel  my  age,  at  all,"  the  great  woman  con- 
tinued.  "I  feel  today  just  like  a  happy  girl.  The 
audiences  have  been  so  wonderful  to  me.  Roxy,  too.  It 
cost  him  a  very  great  sum  of  money  to  have  me  at  his 
theater,  but  he  did  it  with  such  a  gladness. 

"And  Roxy's  company  here,  the  singers,  the  dancers — 
I  tell  you  now,  I  have  been  in 
many  theaters  and  many  opera 
houses  in  the  world,  but  never 
before,  without  a  single  excep- 
tion, mind  you,  have  I  found 
such  a  spirit  as  among  Roxy 
and  his  people.  Such  a  spirit 
of  cleanness,  of  loyalty,  of 
comraderie. 

"On  Saturday  night,  the  bal- 
let dancers  gave  me  a  party, 
with  a  big  birthday  cake.  We 
had  it  right  here  in  the  dress- 
ing room.  And  those  girls, 
they  gave  me,  too,  a  green 
leather  case  for  my  jewels.  I 
had  telegrams,  flowers,  kisses — 
it  is  the  happiest  time  of  my 
life!  To  feel  young  myself — 
to  be  surrounded  by  all  this 
youth. 

"I  love  Roxy.  Isn"t  it  terri- 
ble at  my  age  to  fall  in  love?" 
She  laughed  gaily.  "And  it's 
all  quite  hopeless,  too,  this  case 
of  mine  on  Roxy.  But  even  as 
much  as  I  love  him,  I  have  had 
a  fight  with  him. 

"You  know,  I  sang 
on  the  radio  before 
I  made  my  first  ap- 
pearance on  the  stage. 
And  Roxy,  he  intro- 
duced me  as  'that 
grand  old  lady.'  Pfuil 
I'm  not  old.  I  never 
will  be  old.  'I  re- 
fuse,1 I  told  him,  'I 
refuse  to  be  old.'  And 
when  one  refuses  to 
accept  something, 
then  that  something 
does  not  happen. 
T^icht  wahr? 

"When  I  say  this 
is  the  happiest  day  of 
my  life,  it  is  true. 
For  do  you  know 
what  that  Roxy  did? 
He  brought  'Mamba' 
here,  this  week. 
'Mamba,'  "  she  ex- 
plained, "is  the  pic 


Schumann-Heink  Says: 

"If  American  people 
heard  more  Brahms,  more 
Beethoven,  there  would  be 
less  murder. 

"Music,  of  all  the  arts,  is 
the  most  satisfying. 

"I  can  never  retire!  I 
should  like  to  die  singing, 
before  a  great,  appreciative 
audience.  And  as  the  last 
tone  of  my  voice  faded  away 
and  the  curtain  fell,  I,  too, 
should  like  to  go  out  on 
the  wings  of  my  last  song." 


Schumann-H eink  and  her  son  Ferdinand,  who  has  played 
in  pictures  in  "Four  Sons"  and  "Hell's  Angels,"  and  was 
co-author  of  " Mamba,"  the  melodrama  which  S.  L.  Rothafel 
(Roxy)  ran  at  his  theater  the  week  Mme.  Schumann-Heink 
sang  there,  as  a  compliment  to  the  great  contralto. 


ture  for  which  my  son  Ferdinand  wrote  the  story. 
Ferdinand — he  came  on  from  Hollywood  to  be  here  with 
me  this  wyeek — he  is  a  dear  boy,  a  talented  boy.  He  not 
only  writes  but  he  acts,  also.  He  has  a  part  in  'Hell's 
Angels'  and  he  was  in  a  film  with  Vilma  Banky.  He  is 
a  good  actor,  too.  I  don't  say  that  just  because  I  am  his 
mama — I  know  good  acting  when  I  see  it! 

"Ferdinand  has  had  a  hard  time.  But,"  she  mused,  "it 
is  necessary  to  have  trouble  before  any  artist  can  be  great. 
I  don't  know  a  single  artist  who  is  great  today  who  has 

not  known  hard  times.  I  can 
go  back  myself  to  the  time 
when  I  sat  in  a  bare  room,  I 
mean  a  room  with  no  furniture, 
holding  my  baby  on  my  lap, 
wrondering  where  I  would  get 
food  enough  to  feed  myself  to 
nourish  him.  The  heart  must 
break  first — and  then  the  voice, 
it  comes. 

"I  was  born  in  Austria.  My 
art  is  the  German  art.  But  I 
am  proud  of  being  born  in  the 
country  where  Mozart  was 
born.  Mozart  who  composed 
The  Magic  Flute,  Requiem,  and 
so  many  others.  I  had  a  Latin 
mother.  And,  of  course,  know 
Latin  operas.  But  whatever  is 
in  my  voice  had  its  beginning 
in  the  wild,  rugged  beauty  of 
my  Austrian  mountains. 

"I  am  the  mother  of  six  boys 
and  two  girls.    When  I  think 
of  these  geese,  these  present- 
day  prima  donnas  who  have  no 
children,  I  laugh.    Every  child 
I  have  had  has  brought  a  tone 
more    in    my  voice. 
And  if  I  had  my  life 
to  live  over  again,  I 
would  do  it  just  the 
same.  With  the  birth 
of   a   wanted  child, 
there  comes  something 
to  a  woman.  Some- 
thing deep  and  fine. 
Something  that  makes 
one    understand  the 
human   heart.  And 
without  this,  particu- 
larly   in    an  artist, 
there  is  a  lack. 

"For  a  long  time 
now,  I  have  been 
singing  in  America, 
the  country  which  I 
love  so  much.  And 
now  I  must  tell  you 
something.  Those 
people  in  Europe, 
they  say:  Americans 
(Corrt.  on  page  108) 


24 


SCREENLAND 


A  great  stage  actor  is  initiated 
into  microphone  mysteries  for 
the  filming  of  "Kismet" 


By  Brian  Herbert 


Otis  Skinner's  first  day  on  the  lot!   And  first 
of  all — a  screen  test!    Shades  of  Edwin  Booth 
and  Madame  Modjeska — shades  of  fifty-three 
years  on  the  legitimate  stage!   A  screen  test 
for  Otis  Skinner. 

A  funny  business,  these  movies.  The  old  and  the  new 
sit  down  together  and  turn  their  profiles  this  way  and 
that;  and  it  makes  no  difference  whether  one  has  played 
a  thousand  stage  roles  or  none,  the  test  has  to  be  made 
just  the  same. 

In  pictures,  each  character  is  weighed  for  itself,  and 
while  a  screen  test  of  Otis  Skinner  is  not  aimed  at  detect' 
ing — after  all  these  brilliant  years  in  the  theater — that 
lo!  the  good  gentleman  may  not  be  an  actor  after  all,  it 
is  indispensable  to  give  the  director  and  supervisor  of  the 
film  an  actual  picture  of  the  particular  character  as  he 
will  appear  to  the  cameras.  In  this  manner  they  can 
select  the  remainder  of  their  characters  with  an  eye  to 
dovetailing  players  into  a  prearranged  pattern. 

And  so  Skinner's  first  day  on  the  lot  was  typical  of 
every  featured  player's  experience — except  that  this  was 
Skinner,  Otis  Skinner!  Things  were  a  bit  tense;  directors 
hovered  about;  Skinner  was  given  a  freer  rein  in  selecting 
his  costume,  and  he  was  made  up  by  Percy  Westmore 
himself,  head  of  the  make-up  department.  And  when 
the  time  came  for  him  to  pose  and  speak  his  line,  not 
one  camera  was  used,  but  two! 


Bert  Longworth 


Skinner  was  fascinated  by  the  making  of  sound  movies.  He  visited 
the  "Queen  of  Main  Street"  set  and  met  Lila  Lee,  Louise  Fazenda, 
Ben  Lyon,  and  others. 


Otis 

skinner's 
First  Day 

T  a  L  K  I  E 


for    September  1930 


25 


Skinner  rehearses  his  role  of  Hajj,  the 
beggar  in  "Kismet,"  with  John  Francis 
Dillon,  who  is  directing  Skinner  in  his  first 
talking  picture.  It's  the  prominent  stage 
star's  first  meeting  with  a  microphone — you 
see  it  above  him  in  this  exclusive  photo- 
graph. Otis  Skinner  is  one  of  the  very  last 
of  the  great  stage  figures  to  answer  the  call 
of  the  sound  cameras. 


in  a 


Skinner  came  on  the  First  National  lot  at  exactly  five 
minutes  after  nine  o'clock  in  the  morning;  the  five  minutes 
being  a  whimsical  concession  to  his  position,  for  usually 
players  are  required  to  be  on  hand  at  exactly  nine. 
Accompanying  him  were  his  wife,  Maude  Durbin,  who 
was  one  of  his  early  leading  ladies,  and  Skinner's  own 
make-up  man,  William  Nelson.  Nelson  has  been  with 
Skinner  for  years  on  the  legitimate  stage  for  the  exclusive 
purpose  of  applying  the  star's  make-up,  and  now  Skinner 
has  brought  him  to  Hollywood,  where  strange  paint  and 
brushes  are  as  foreign  to  him  as  they  would  be  to  any- 
one unacquainted  with  the  special  cosmetics  required  for 
camera  work.  But  Skinner  does  not  feel  like  parting 
with  him  after  so  long  an  association,  and  Nelson  stands 
around  and  asks  what  is  this  dark  grease  paint  for,  and 
why  don't  they  use  jars  of  cold  cream  instead  of  the 
liquid  that  is  applied  with  a  brush,  and  please  be  care- 
ful with  the  right  side  of  Mr.  Skinner's  back,  which  has 
been  unusually  tender  of  late. 

The  first  stopover  in  the  studio  was  at  the  wardrobe 
department.  The  star  was  ushered  into  a  commodious 
fitting  room  where  yards  of  burlap  were  draped  on  the 
wall.  Closer  inspection  revealed  the  seemingly  filthiest, 
most  threadbare  collection  of  rags  imaginable,  and  this 
was  Skinner's  costume  for  the  role  of  Hajj,  the  beggar 
in  "Kismet."  But  the  rags  are  not  filthy,  though  they 
are  threadbare  enough,  and  the  dirt  illusion  is  applied 
by  a  special  spray  gun  that  covers  the  cloth  with  a  layer 
which  has  exactly  the  appearance  of  age-old  filth.  The 
rags  were  hung  on  'silk  lining  hangers,'  which  are  ordi- 
nary clothes  supports  with  a  covering  of  velvet.  Ordinar- 
ily these  are  used  for  garments  with  satin  or  silk  linings, 
in  order  that  the  delicate  fabrics  may  not  be  damaged 
by  the  comparatively  rough  surface. 

These  rags  of  Hajj  are  as  carefully  tailored  as  the  best 
London  suits.  What  may  seem  a  haphazard  girdle  of  un- 
bleached flour  bags  is  really  the  painstaking  result  of  days 
in  the  wardrobe  department  where  specialists  decided  to 
eat  away  a  hole  in  the  material  just  here,  and  have  a  nail 
catch  onto  the  shoulder  just  there,  and  have  a  moth  eat 
away  just  that  much  of  the  side  and  so  much  of  the 
back.     Some  of  the  rags  are      {Continued  on  page  121) 


Studio 


A  stage  star's  first  encounter  with  a  Vitaphone  camera.  Skinner's 
guides  are  Hal   Wallis,  right,  and  C.  Graham   Baker,  studio  co- 
executives  in  charge  of  production. 


26 


SCREENLAND 


What  Happens 


How  many  of  Broadway's  darlings 
have   become  picture  pets  on  the 
camera  coast?  How  many  have 
failed?  This  story  tells  you 


to 


STAGE 

By  Ruth  Tildes  ley  STARS 


HOLLYWOOD  is  a  grab  bag  out  of  which  one  may 
draw  anything. 
Stage  stars  of  differing  degrees  of  New  York 
brilliance  thrust  in  eager  fingers  and  bring  out 

— what? 

Ina  Claire,  coming  to  the  coast  with  a  contract  calling 
for  the  biggest  pay-check  ever  offered  if  she  scored  a  sue' 
cess,  failed  to  have  her  option  taken  up,  but  gained  as 
husband  Jack  Gilbert,  the  silent  screen's  most  romantic 
figure. 

Lenore  Ulric,  heralded  by  a  fanfare  of  publicity  trum- 
pets,   brought    husband  Sidney 

Blackmer   with   her   'among   the  .  

retinue,'  as  it  were.  Lenore's  pic- 
tures— well,  the  least  said  about 
them  the  better.  Lenore  went 
back  to  New  York.  But  Sidney 
Blackmer's  grab-bag  haul  was  a 
long-term  contract,  loud  praise 
from  reviewers  and  much,  much 
fan  mail.  Now  Lenore,  they  say, 
has  decided  to  try  pictures  again 
— wait  and  see  if  she  catches  up 
with  friend  husband! 

Mary  Eaton,  a  'big  shot'  on 
Broadway,  couldn't  put  herself 
over  on  the  screen,  but  personally 
what  did  she  do?  Went  into  the 
matrimonial  mart  and  appropriated 
Millard  Webb,  director,  that's 
what.  Mary  says  she'd  rather  be 
a  successful  wife  than  a  successful 
film  star. 


in 


Above:  Kay 
Johnson  con- 
quered the 
movies  in 
"Dynamite." 


Charles  Bick- 
ford  discov- 
ered that  talk- 
ies don't  inter- 
fere with  his 
greatest  love, 
the  sea — so  he 
likes  'em! 


Fredric  March 
and  his  wife, 
Florence  El- 
dridge  (left). 
Very  popular. 


A  Metropoli- 
tan Opera 
diva,  lured  to 
California  by 
the  films,  can 
go  swimming 
all  the  year 
'round.  Holly- 
wood agrees 
with  Grace 
Moore. 


for    September  1930 


27 


But   they   don't   all  fail. 

There's  Marilyn  Miller, 
who  scored  a  smashing  hit  in 
Sally."  They  call  Marilyn 
'upstage'  here  (when  they 
don't  say  'snooty')  because 
she  seldom  puts  herself  out 
to  be  a  social  success. 

Last  summer,  when  she 
came  out  to  make  her  first 
picture,  it  must  be  admitted 
that  there  was  something  to 
be  said  for  Marilyn's  hermit' 
complex.  The  temperature 
hovered  around  100  degrees; 
she  worked  under  technicolor 
lights  that  raised  it  so  that 
standing  outside  in  the  desert 
sun  seemed  cool  in  compari- 
son; she  sprained  her  ankle; 
had  her  tonsils  out;  endured 


Below,  Chester  Morris  de- 
serted Broadway  for  Hotly- 
wood  and  has  scored  one  of 
the  biggest  personal  successes 
of  any  actor. 


They  may  call  Marilyn  Miller 
up-stage  because  she  seldom  puts 
herself  out  to  be  a  social  suc- 
cess. But  "Sally"  was  a  smash. 


A    new    arrival    is    Claire  Luce, 
blonde    and    beautiful,    who  will 
first  be  seen  in  Maurine  Watkins' 
"Up  the  River,"  for  Fox. 


the  agonies  of  an  abscessed  tooth.  Besides  working 
long  hours  at  the  studio,  she  had  to  put  in  other  hours 
vocalizing  and  limbering  her  muscles  for  her  dances. 

This  year,  however,  with  no  weather  or  tonsils  to  blame, 
Marilyn  is  still  'exclusive.'  Mary  Hay  is  her  chosen  com- 
panion, other  friends  who  frequent  the  Lita  Gray  Chaplin 
home  Marilyn  has  leased  being  not  of  either  picture  or  stage 
worlds.  Marilyn  is  engaged  to  one  Michael  Farmer,  an 
Irishman  who  has  spent  most  of  his  life  in  Paris  where 
they  met.  Michael's  business  is  in  New  York,  but  he  is 
here  while  his  fiancee  makes  her  picture. 

Perhaps  a  clue  to  this  star's  aloofness  may  be  found 
in  an  incident  occurring  some  four  years  ago,  when  Mari- 
lyn, then  Mrs.  Jack  Pickford,  was  staying  at  Pickfair. 

One  evening  Corinne  Griffith  looked  out  to  see  Jack 
and  Marilyn  come  running  hand  in  hand  up  her  flagged 
pathway. 


Lenore  Ulric  and  her  husband,  Sidney  Black- 
mer,  invaded  Hollywood  together.    Sidney  is 
a  screen  hit.    Will  Lenore  equal  him  in  film 
popularity? 


"Hoo-hoo,  Corinne!"  panted  Mari' 
lyn,  "will  you  let  us  stay  to  dinner? 
I've  come  to  the  end  of  my  string. 
Mary  is  sweet  and  Doug  is  great,  but 
all  anybody  talks  about  at  their  house 
is  pictures.  Her  picture — his  picture 
— the  latest  picture!  Stories  for  pic- 
tures, camera  angles,  rushes!  If  I  hear 
another  word  on  the  subject,  I  shall  go 
mad!   Save  me!" 

Four  years  ago,  when  Ruth  Chat- 
terton  was  playing  here  in  "The  Green 
Hat,"  she  told  me  she  couldn't  see 
what  people  did  with  themselves  in 
Hollywood.  All  the  people  one  knew 
were  in  New  York,  all  the  best  plays, 
the  best  music,  the  best  minds,  etc., 
were  there.  Silent  picture  producers 
went  on  record  as  saying  that  Miss 
Chatterton  was  out  as  far  as  the  screen 
was  concerned.  She  wouldn't  photo- 
graph. There  was  something  about 
her  nose — 

Now,  she  is  one  of  the  box-office  at- 
tractions of  the  talkies.  Whatever  it 
was  about  her  nose  has  been  forgotten. 
Screen  fans  applaud  what  stage  audi- 
ences applauded.  Ruth  is  as  popular 
in  Hollywood  society  as  she  once  was 
in  New  York.  Her  home,  which  she 
remodeled  and  furnished  to  her  own 
taste,  is  a  mecca  for  New  York  friends 
such  as  Fay  Bainter  and  John  Colton,  as  well  as  for  Holly- 
woodians  such  as  Lois  Wilson  and  Ramon  Novarro. 

Ruth  and  husband  Ralph  Forbes,  after  their  brief  separa- 
tion, seem  more  congenial  than  most  famous  married  folk. 
They  took  Anna  Q.  Nilsson's  beach  house  at  Malibu  for 
the  summer  and  indulged  their  mutual  passion  for  swim- 
ming, sea  sports  and  each  other's  society,  in  the  interim 
of  work  and  house-parties. 

"A  home  at  last!"  is  the  refrain  sung  by  most  of  our 
stage  stars  when  asked  what  is  most  important  in  Holly- 
wood. 

Ann  Harding,  especially,  gloats  over  hers. 

"I  never  had  a  real  home  in  my  life  until  I  came  here," 
she  declares.  "My  father  was  an  army  officer  and  my 
girlhood  was  just  a  series  of  moves  from  one  post  to 
another.  Then  the  stage,  which  was  a  series  of  one  hotel 
after  another.    My  husband,  Harry  {Continued  on  page  109) 


23 


SCREENLAND 


Jeanette  MacDonald,  known  as  Broadway's  most  beautiful  prima  donna,  made 
her  screen  debut  in  "The  Love  Parade"  with  Chevalier,  and  scored  a  hit. 
Now  she  is  adorning  Lubitsch's  "Monte  Carlo." 

A  Singing  Lesson 

by  Jeanette  MacDonald 


A  LTHOUGH  I  strive  for 

/  \     perfection,   there  is 

/  \  no  one  in  the  world 
who  realizes  better 
than  I,  that  I  still  have  much 
to  attain.  I  do  want  to  warn 
the  young  singer  to  beware  of 
the  charlatans  who,  perhaps 
in  a  degree  sincere  yet  none 
the  less  dangerous,  ruin  many 
promising  voices  with  their 
theories.  If  the  dire  effects 
of  these  theories  were  not  so 
seriously    disastrous    to  the 

voice,  they  would  really  be  most  decidedly  humorous. 

I  have  heard  of  a  singing  teacher  who  makes  a  pupil 
balance  a  glass  of  water  on  the  top  of  her  head,  telling 
the  pupil  the  tone  is  not  perfect  until  not  a  drop  of  water 
spills  and  the  tumbler  remains  motionless!  Another  teacher 
is  said  to  make  his  pupils  bend  the  body  forward  in  order 
to  take  a  high  tone.  If  your  teacher's  ideas  about  singing 
do  not  appeal  to  your  logic,  I  advise  you  to  drop  that 
instructor  immediately. 

Trees   by   Oscar   Rasbach,    and   Songs   My  Mother 


Singing  in  the  rain,  singing  in  the 
bath-tub,  or  singing  professionally 
— everybody  sings!  You'll  be  in- 
terested in  this  second  article  of 
Screenland's  series  of  singing 
lessons  by  famous  screen  stars. 
Lovely  Jeanette  MacDonald  gives 
valuable  vocal  advice  from  her 
own  experience.  Next  month — 
Lawrence  Tibbett. 


Taught  Me  by  Dvorak,  are 
both  songs  I  would  suggest  as 
splendid  ones  for  work  on  in- 
tervals and  to  attain  smooth- 
ness of  tone.  Of  course,  there 
are  countless  exercises  and 
songs  equally  helpful.  I  name 
these  because  they  have  been 
helpful  to  me.  Some  songs 
and  some  languages  seem  to 
suit  personalities  better  than 
others.  I  feel  that  French  as 
a  language  suits  me.  I  like 
it.  I  have  always  wanted  to 
sing  the  role  of  Marguerite  in  "Faust"  or  the  role  of 
"Mignon"  yet  neither  is  really  suited  to  my  voice.  I  am 
a  lyric  soprano  and  Marguerite  really  demands  somewhat 
of  a  colorature,  while  "Mignon"  is  often  sung  by  a  high 
mezzo. 

Because  of  its  many  years  of  hard  work  and  because 
of  its  extreme  uncertainty,  I  had  always  felt  reluctant  to 
attempt  an  operatic  career.  Since  I've  been  in  pictures, 
however,  I  feel  I  am  becoming  qualified  to  enter  any  field 
and  fight  any  battle  thereon.    For  no  one,  except  those 


for    September  1930 


29 


EXERCISE  OF  FIFTHS 


SCALE  OF  THE  NINTHS 


ARPEGGIO 


who  are  right  in  the  mo- 
tion picture  studios,  know 
the  hardships,  the  strug' 
gles,  and  the  many  things 
that  are  demanded  of  a 
singer  on  the  screen.  I 
really  feel  capable  of  at- 
tempting anything,  even 
an  operatic  career!  Right 
now  I  am  hoping  someday 
to  have  time  to  study  and 

sing  many  of  the  operatic  roles  so  rarely  heard  by  the 
great  masses  of  people  in  America. 

Music  has  reached  the  corners  of  the  earth  through 
the  radio,  but  there  are  countless  spots  in  our  own 
country  where  there  has  never  been  a  performance  of 
opera.  In  this  colorful,  musical  age  that  seems  a  crying 
shame. 

And  now  for  our  singing  lesson,  which  I  hope  my 
readers  will  take  in  the  spirit  in  which  it  is  written- — 
that  of  utmost  humility,  for  I  do  not  feel  qualified  to 
claim  perfection  by  any  means.  I  still  have  too  much 
to  learn.  But  I  am  happy  to  tell  of  some  things  that 
have  helped  me  and  some  conclusions  I  have  reached, 
and  also  to  warn  young  singers  of  the  terrible  pitfalls  that 
bad  beginnings  can  make.  The  few  things  I  am  giving 
here  are  constructive  truths  based  on  the  oldest  singing 
method  in  the  world. 

The  keynote  of  learning  to  sing  is  to  be  vitalized,  yet 


singing  must  be  simplicity 
itself.  This  is  the  greatest 
thing  I  learned  from  my 
teacher,  Ferdinand  Torri- 
ani,  with  whom  I  studied 
for  almost  two  years  be- 
fore he  died.  Since  then 
I  have  studied  many  other 
things  with  Grace  Adele 
Newell,  his  associate,  but 
this  great  necessary  act  of 
opening  the  mouth  vitally  is  something  rarely  taught  by 
teachers  of  today  and  often  not  fully  understood  even 
when  it  is  taught. 

The  first  thing  I  should  tell  a  young  student  to  do  is 
practice  chewing,  taking  care  that  the  lips  do  not  cover 
the  teeth.  Open  the  mouth  as  wide  as  possible;  then, 
while  chewing,  set  the  jaw  vitally  with  no  feeling  of  strain. 
When  this  position  is  taken  one  cannot  always  see  an 
open  throat  because  the  tongue  does  not  generally  lie  flat 
in  the  mouth — the  action  of  the  muscles  underneath  raises 
it.  Elimination  of  the  interference  of  these  and  other 
throat  muscles  is  the  secret  of  correct  singing. 

This  was  the  real  Italian  method  before  it  was  blended 
with  Modernism.  The  old  Italians  knew  the  science  of 
free  vibration.  In  other  words,  the  breath  that  passes 
through  the  lungs  over  the  vocal  cords,  must  have  no 
muscular  interference  on  its  way  to  the  roof  of  the  mouth 
(the  natural  sounding  board)      (Continued  on  page  110) 


Miss  MacDonald 
posed  for  these  pic- 
tures to  illustrate 
the  points  she  makes 
in  her  article.  The 
first  thing  she  tells 
a  young  student  to 
do  is  to  practice 
chewing,  taking  care 
that  the  lips  do  not 
cover  the  teeth. 
Open  the  mouth  as 
wide  as  possible,  as 
Jeanette  is  doing  in 
the  photograph  at 
the  left.  Then,  while 
chewing,  set  the  jaw 
vitally  with  no  feel- 
ing of  strain  (right). 
Above:  exercises 
which  Miss  Mac- 
Donald  heartily  rec- 
ommends to  the 
young  singer.  Now, 
go  right  ahead  and 
practice! 


30 


SCREENLAND 


Queen 
Merry 


By  Marie  House 


Nominee  Marjorie   White  from  Broad- 
way, who  scored  in  "Sunny  Side  Up" 
How  many  votes  for  Marjorie? 


Great  questions  confront  us.  They  scream  at  us 
from  headlines.  They  intrude  on  our  lighter 
moments.  They  are  always  with  us.  Great  burn' 
ing  questions.  Disarmament.  Prohibition.  For' 
eign  Relations.  Unemployment.  The  Stock  Market. 
Television.  Garbo. 

But  especially  it's  the  real  estate  problem  in  Hollywood. 
The  vacancy  problem.  The  thrones  for  rent,  titles  for 
sale,  crowns  thrown  in.  Great,  glittering  thrones  pushed 
into  corners,  covered  with  cobwebs.  Scepters  getting  tar' 
nished,  gilt  peeling  off. 

It's  all  the  fault  of  the  talkies.  Old  favorites  are  gone, 
new  favorites  unlabeled.  In  the  old  days  of  silence  the 
fans  knew  where  they  were.  They  had  a  row  of  gilded 
thrones  and  occupants  for  each  with  nice  clean  faces  and 
neatly  brushed  hair.  And  there  it  was  and  there  we  were 
and  everyone  could  sit  back  with  a  sigh 
and  enjoy  it  all. 

But  now  where  are  we?  Ninety  in 
the  shade  and  getting  hotter,  if  you  must 


Lillian  Roth,  that 
zippy,  little  black- 
eyed  young  lady 
blues  singer,  Since 
her  joyous  antics 
in  "Honey"  there 
are  those  who  will 
have  no  one  but 
Lillian. 


y 


Above:  Zasu  Pitts 
achieved  the  title  of  'first 
waller  of  the  screen  in 
"This  Thing  Called  Love" 
and  "Honey." 


Left:  those  grand  girls, 
Marie  Dressier  and  Polly 
Moran,  poll  thousands  of 
votes  in  the  race  for 
comedy  honors. 


for    September  1930 


31 


Who  shall  be  the  new  Queen  of  Comedy?  We'll  call  the 
roll  and  review  the  candidates.  Then  you  can  cast  your  vote 


know.  The  talkies  came  along  like  any  other  great  revo- 
lution and  upset  the  old  order  and  now  we  need  a  whole 
new  set  of  candidates  for  the  thrones.  Pitched  battles 
are  still  being  fought  and  previewed  over  who  shall  be 
the  'Great  Lover1  with  the  balance  of  power  being  threat- 
ened towards  the  diamonds  in  the  rough.  Our  Orchid 
Lady  has  left  and  we  need  a  new  one  of  those.    So  it  goes. 

But  the  thing  that  is  really  agitating,  making  us  hard 
to  live  with,  is  the  Queen  of  Comedy  question.  Who 
shall  be  Queen  Merry?  No.  Not  who  shall  be  Queen 
of  the  May — but  Queen  of  the  laughs,  the  chortles,  the 
guffaws.  Back  in  the  silent  ages  b.t.  (before  talkies)  we 
had  adored  Mabel  Norman — then  Dorothy  Gish  reigned, 


Are  you  there?  Oh, 
I  say,  are  you  there? 
Well,  "Are  You 
There?"  is  the  name 
of  Beatrice  Lillie's 
new  talkie  comedy 
and    makes    her  a 


candidate. 


Cast  your  vote. 


succeeded  by  Connie  Talmadge.    But  since  Connie  has 
abdicated  in  favor  of  a  husband  and  Dorothy  deserted  to 
the  stage,  that  brings  the  question  up  to  date. 
Who,  now  shall  be  Queen  Merry? 
Let's  call  the  roll  and  review  the  candidates. 
Hold  everything!   Here's  Winnie  Lightner,  a  red  head 
and  Irish.    A  headliner  and  favorite  with  the  New  York 
stage,  the  rollicking  Winnie  scored  a  big  hit  in  her  first 
picture,  "Gold  Diggers  of  Broadway,"  romped  home  with 
honors  in  "She  Couldn't  Say  No,"  and  becomes  a  serious 
candidate  for  the  Queen  of  Jollity. 

Winnie  likes  comedy,  likes  to  make  people  laugh.  She'll 
tell  you  so.  Of  course,  she  also  dotes  on  a  big,  sobby  cry, 
that's  the  Irish  of  it;  but  with  Winnie  herself,  acting  is 
just  lots  of  fun  and  she  enjoys  it  all  as  much  as  her 
audiences.  Many  a  chuckle  has  been  cast  for  Winnie. 
Big-hearted  and  regular,  she  gets  a  big  'kick'  out  of  her 
fan  letters,  the  advice  they  want,  the  questions  they  ask 
her  to  settle.  "That's  because  they  think  I'm  the  great, 
good-natured  thing  they  see  on  the  screen,"  says  Winnie. 
"Gee,  I  like  to  have  people  like  me.  I'm  just  myself  when 
I  act."    That's  Winnie's  winning  platform. 

From  the  stage,  yes,  but  Winnie  confesses  she  likes 
Hollywood  and  adores  the  talkies.  A  sense  of  humor  is  a 
part  of  Winnie.  She  is  full  of  those  hearty  laughs  which 
make  the  world  go  round. 

Winnie  confesses  to  ambitions  to  do  more  sophisticated 
comedy  in  the  Ina  Claire  manner — oh  Winnie,  how  could 
you! — and  threatens  to  do  so  in  her  very  latest  picture. 
In  the  meantime  there's  "The  Life  of  the  Party"  which 
she  has  just  finished,  and  another  opus  with  Joe  Brown. 
After  that  the  threatened  sophistication.  So  who  couldn't 
say  yes  to  Winnie!  Winnie  for  Comedy  Queen! 

Listen!  Hear  those  deep,  whole- 
hearted chuckles  down  stage.  They  can't 
be — yes,  they  are — they  can  be  nothing 
else  than  Marie  Dressler's  famous  roll 
of  laughter.        (Continued  on  page  116) 


Above:  well,  well,  Win- 
nie! That  fall  into  Albert 
Gran's  lap  in  "Gold  Dig- 
gers of  Broadway"  made 
her  famous. 


Right:  Inez  Courtney's 
few  clever  scenes  in 
"Song  of  the  Flame"  put 
her  up  in  the  front  ranks 
of  nominees. 


32 


SCREENLAND 


Ronald  Colman 


COLMAN'S 

CREED: 

"If  I  have  any  philosophy 
it  is  to  mind  my  own  busi- 
ness as  well  as  I  can  and 
keep  order  in  my  affairs. 

"I  am  not  a  good  mixer. 
I  have  no  small  talk.  I  only 
feel  at  home  with  people  I 
know  well  and  who  like  the 
things  I  like. 

"What  I  do  after  I  leave 
the  studio  is  my  own  busi- 
ness, unless  I  break  the 
peace  or  become  a  public 
nuisance! 

"Acting  is  an  illusion  and 
the  actor  should  be  an  illu- 
sion, too." 


THERE  are  three  people  in  Hollywood  whose 
personal  lives  are  more  or  less  of  a  mystery. 
They  are  Greta  Garbo,  Lon  Chaney,  andi 
Ronald  Colman. 
All  three  are  conscientious  workers  and  all  three 
hate  publicity.    Ronnie  likes  to  play  more  than  the 
other  two,   perhaps.     He  does  not  take  his  work 
quite  as  seriously  as  Garbo  or  Lon,  who  is  never 
happy  when  he  is  not  working.     Ronnie  likes  his 
work,  but  only  as  a  contrast  to  the  life  of  leisure 
he  thoroughly  enjoys.    Time  for  reading,  time  for 
tennis,  time  for  swimming,  time  for  riding,  time  for 
thinking.    During  the  weeks  he  is  making  a  picture  he  is 
lucky  if  he  can  get  in  two  of  his  favorite  games,  and  as 
for  reading — that  luxury  is  not  indulged  in.     But  the 
silent,  friendly-eyed  Englishman,  has  managed  his  career 
so  well  that  there  are  long  periods  of  rest  between  pic- 
tures which  his  remunerative  work  has  made  possible  to 
spend  in  any  manner  he  pleases. 

Because  Colman  is  apparently  so  little  interested  in  his 
success,  so  leisurely  and  yet  so  successful,  I  thought  his 
must  be  an  ideal  philosophy,  and  asked  him  what  it  was. 

His  brow  puckered  in  a  thoughtful  frown.  He  clamped 
his  teeth  on  his  favorite  pipe  and  drew  a  couple  of  puffs 
of  smoke  before  answering  me.  Then  he  said,  "Well,  I 
really  don't  know.  I  suppose,"  he  went  on  with  great 
seriousness,  "that  I  would  be  called  an  atheist,  since  I 


Colman,  sometimes   called  Hollywood's   man   of  mystery 
because  he  never  attends  first  nights,  goes  to  few  parties, 
avoids  the  crowd.    But  the  real  Colman — sincere,  sympa- 
thetic, human — is  revealed  in  this  article. 


have  no  particular  creed,  or  at  least  I  follow  none.  But 
I  do  believe  in  God,  so  I  am  not  exactly  an  atheist,  am  I? 
At  least,  I  believe  in  a  God-force.  It  seems  to  manifest 
itself  in  various  constructive  ways.  For  instance,  light 
seems  to  me  to  have  something  God-like  about  it.  So 
does  wisdom,  joy,  truth,  and  life.  These  impersonal 
forces  seem  to  me  to  be  omnipotent. 

"I  can't  quite  reconcile  omnipotence  with  the  misfor- 
tunes that  afflict  people,  however.  I  think  I  am  just 
lucky  for  what  success  I  may  have.  I  know  a  lot  of 
people  who  work  just  as  hard  as  I  do,  are  better  looking 
than  I  am  (we  don't  know  who  they  could  be,  Ronnie!), 
and  much  more  deserving  of  success  all  the  way  around 
than  I  am.  Yet  they  have  continual  hard  iuck  and 
disappointment." 


for    September  1930 


33 


Confesses/ 

More  than  an  interview— the  most  revealing 
analysis  ever  written  about  Colman.  You'll 
know  him  after  reading  this  story 

By  Helen  Ludlam 


"Perhaps  they  have  not  centralized  their  efforts  as  you 
have,"  I  said.  "You  have  a  desire  for  order  in  your  life 
and  for  the  material  freedom  that  makes  it  possible  for 
you  to  enjoy  your  leisure  moments.  A  life  of  confusion 
would  be  intolerable  to  you." 

"That  may  be  true — about  people  not  centralizing  their 
efforts,  I  mean.  People  often  think  they  want  a  thing 
when  actually  it  is  something  quite  different  they  want. 
This  subconscious  confusion  of  thought  may  be  the 
stumbling  block.  After  all,  it  is  what  we  think  about 
any  condition  in  life  that  makes  it  good  or  bad,  pleasant 
or  unpleasant,  isn't  it?  It  hasn't  actually  anything  to  do 
with  what  the  thing  is.  As  an  example,  an  African 
native  would  probably  be  miserable  in  Hollywood.  Yet 
Hollywood  in  the  minds  of  some  people  appears  as  a  sort 
of  heaven. 

"If  I  have  any  philosophy  it  is  to  mind  my  own  busi- 
ness as  well  as  I  can  and  keep  order  in  my  affairs.  I  try 
to  remember,  too,  that  at  least  once  in  his  life  each  of 
us  can  be  of  vital  assistance,  perhaps,  to  some  one  who 
knocks  at  his  door." 

Yet  Ronald  Colman  is  not  a  person  one  could  easily 
impose  upon.  He  re- 
spects the  rights  of 
other  people  and  de- 
mands that  respect  for 
himself.  No,  I  don't 
think  anyone  could 
easily  impose  upon 
Ronnie. 

"Why  are  you  so 
reticent?"  I  asked,  hop- 
ing to  get  an  answer 
to  a  question  that  is 
asked  me  over  and 
over  again  by  people 
who  happen  to  know 
that  I  have  met  him. 

Do  those  of  you 
who  saw  "Con- 
demned" remember 
the  scene  in  which 
Dudley  Digges  as  the 
prison  warden  accuses 
Ronnie  of  an  attempt 
to  dishonor  his  wife, 
Ann  Harding?  Ron- 
nie's whole  soul  was 
in  the  vehement  man- 
ner in  which  he  de- 
clared, "She  never 


said  so!" 

In  just  the  same  manner  he  declared  to  me,  "I  never 
mean  to  be!  At  least,  I  am  not  so  consciously.  You  see, 
I  have  no  small  talk.  I  am  not  a  brilliant  dinner  com- 
panion by  any  means.  For  instance,  if  I  attend  a  formal 
dinner — those  two  people  one  on  either  side  of  you  that 
you  don't  know — I  find  myself  painfully  silent  unless  I 
find  that  we  have  interests  in  common.  I  only  feel  at 
home  with  people  I  know  well  and  who  like  the  things 
I  like.  Then  I  talk  on  and  on.  Sometimes  the  next 
morning  I  think  to  myself,  'I  talked  my  fool  head  off 
last  night!'  But  I  have  no  talent  for  'making  an  impres- 
sion.' I  do  not  dislike  people  but  I  am  not  a  good  mixer. 
And  I  have  long  ago  given  up  the  hope  that  I  ever 
shall  be." 

Ronnie  has  that  peculiar  temperament  that  is  alone  in 
the  midst  of  a  crowd.  His  is  not  one  that  suffers  from 
loneliness,  however,  for  although  he  desires  to  know  all 
phases  of  life  he  has  an  executive  quality  of  mind  that 
keeps  him  from  being  restless.  People  say  he  is  self- 
centered,  yet  that  is  not  entirely  true.  Self-centered  peo- 
ple are  usually  selfish,  and  Ronald  Colman  is  not  selfish; 

several  people  in  Holly- 
wood could  tell  you 
that. 

It  is  said  that  he  is 
penurious  because  he 
won't  give  mass  parties 
and  isn't  in  the  habit 
of  taking  people  out 
to  lunch  and  won't 
have  his  beach  house 
wired  for  electricity. 
But  it  isn't  because  he 
is  penurious  that  he 
doesn't  do  these  things. 
He  abhors  mass  parties 
and  almost  never  at- 
tends one.  It  would 
be  impossible  for  him 
to  give  one.  If  he  did 
he  would  cut  and  run 
when  he  saw  the  first 
guest  drive  to  the  door. 
He  entertains  quietly 
the  people  he  calls 
friends,  and  acquaint- 
ances whom  he  finds 
congenial.  But  the 
idea  of  contacting 
(Cont.  on  page  112) 


There  was  an  'engagement  rumor'  about  Kay  Francis  and 
Ronald   Colman   when   they  played   together  in  "Raffles," 
Ronnie's  latest.   But — they're  just  good  friends! 


34 


SGREENLAND 


Paris  +  Hollywood  = 

What  Smart  Women  Will  Wear 
This  Fall 


A  Forecast  of  the  New  Autumnal  Mode 
by  a  Famous  Screen  Fashion  Authority 


H 


By  Travis  Banton 


AVE    you  forgotten 
that  girls  are  allur- 
ing, provocative, 
and  perhaps  a  little 
— er — ah — naughty? 

Have  the  recent  dear,  dead 
days  of  short  sports  clothes  and 
close'cropped  heads  made  you 
forget  how  tempting  are  the 
purely  feminine  accessories  of 
jewels,  gloves,  curls  and 
flowers? 

If  you  have  forgotten,  these 
first  brisk  fall  days  are  the 
time  to  refresh  your  memory. 
For  at  no  period  since  the 
beginning  of  the  world  war 
have  elegance,  distinction  and 
soft  femininity  been  at  such 
a  premium.  To  be  in  the 
mode  this  autumn  of  1930,  it 
is  not  enough  for  a  girl  to  be 
dressed  with  that  divine  sim- 
plicity  which  all  knowing 
women  desire.  She  must  have 
worldly  charm  as  well.  And 
to  top  it  all,  she  should  pos- 
sess  a  dash  of  that  witty  sang- 
froid which  denotes  the  true 


Banton's  own  sketch  of 
his  new  black  velvet 
evening  gown  for  fall, 
created  for  Kay  Francis. 


Heavy  ivory  satin,  indi- 
cated for  fall  popularity, 
fashions  this  gown,  also 
made  for  Miss  Francis. 


Travis  Banton,  who  wrote  this  exclusive  article  on  the 
new  fall  mode,  has  been  the  fashion  expert  for  Para- 
mount Pictures  for  five  years.  He  is  noted  for  his 
knowledge  of  fashions,  fabrics,  and  femininity — a  two- 
fisted  he-man  who  happens  to  be  in  the  business  of 
designing  clothes  for  screen  beauties.  He  goes  to  Paris 
several  times  a  year,  studies  the  style  trend,  and  returns 
to  design  new  and  novel  gowns  for  such  stars  as  Ruth 
Chatterton,  Nancy  Carroll,  Kay  Francis.  He  knows  his 
Paris  and  understands  his  Hollywood! 

The  Editor 


Travis  Banton  designed  this 
striking  formal  gown  of  gold 
sequins     for     the  stunning 
sophisticated  type. 


woman  of  the  world. 

If  you  are  one  of  the 
die-hards,  and  don't  believe 
that  the  hard-boiled, 
straight-figured  flapper  type 
is  dead,  just  look  around  at 
the  change  in  style  in 
female  screen  stars.  Where 
we  formerly  had  the  pretty, 
short-frocked,  boyish  hero- 
ine who  went  through  trial 
and  tribulation  only  to  fall 
on  the  breast  of  the  hero 
in  the  end,  what  do  we 
find  today? 

Why,  the  engaging  so- 
phistication of  Evelyn 
Brent,  the  worldy  elegance 


of  Lilyan  Tashman,  the 
frank  smartness  of  Kay 
Francis,  and  the  subtle 
allurement  of  Ruth 
Chatterton,  who  usually 
start  their  films  where 
the  old-fashioned  ones 
formerly  ended  —  with 
the  marriage  ceremony. 

For  over  five  years  it 
has  been  my  business 
to  design  clothes  for 
these  and  many  other 
movie  stars,  and  nat- 
urally during  this  time 
I  have  made  many  trips 
to  Paris.  But  I  wish 
to  state  right  here  that 


Hollywood  never  has  and 
never  will  influence  Paris 
styles.  Stylistically  speaking, 
Hollywood  is  isolated  from 
Paris,  the  fashion  center  of 
the  world.  Nevertheless  Hol- 
lywood always  has  and  always 
will  influence  the  styles  of  mil- 
lions of  women  throughout 
the  world.  Because,  for  every 
woman  who  is  able  to  go  to 
Paris  to  do  her  shopping,  there 
are  a  hundred  thousand  who 
get  no  farther  than  the  near- 
est picture  theater.  But  here 
they  see  Clara  Bow's  latest  fur 
coat,  and  then  go  home  and 
make  the  life  of  their  home 
town  furrier  miserable  until 
he  makes  one  for  them — just 
like  Clara's. 

My  job,  therefore,  is  to 
keep  Hollywood  abreast  of 
Paris — to  bring  Paris  in  actu- 
ality to  Hollywood  so  that 
when  I  have  to  design  clothes 
for  a  society  drama,  the  people 
will  really  appear  as  if  they 
lived    [Continued  on  page  117) 


This  dinner  ensemble  of  beige 
chiffon  trimmed  with  fox  will 
be    worn    by    Jeanette  Mac- 
Donald  in  "Monte  Carlo." 


5c  RE  EN  5TARS 
IN 

Fall  Fashions 

The  New  Mode 
Expressed  by  the 
Hollywood  Beauties 

Ann  Harding  opens  Screen- 
land's  special  jail  fashion  fore- 
cast in  her  hostess  gown  of  softest, 
finest  transparent  velvet  in  the 
new  shade  of  golden  brown. 


Elmer  Fryer, 


Lovely  Ladies  in 


Left,  Lila  Lee's  gardenia  beauty  lends  itself 
to  the  perfection  of  this  costume  negligee  of 
Empire  inspiration.    White   satin   with  black 
velvet  bows  and  belt. 

Below,  Ginger  Rogers  is  wearing  pajamas  of 
crepe  patterned  in  blue,  black,  and  white,  with 
perky  wide  trousers.    'Ginger's  shoes  are  blue 
with  smart  velvet  bows. 


the  Neiv  Negligees 


Elmer  Fryer 


Right,  not  a  negligee?    We  knew  it!   But  we 
thought  you  would  like  to  see  the  newest  in 
nighties,    with    the    clever    new   cap  sleeves, 
worn  by  Chrystine  Maple. 

Below,  a  Continental  negligee,  worn  by  Marlene 
Dietrich.    It's  a  frothy  affair  of  pale  pink  chif- 
fon, and  even  boasts  a  train!  Note  Marlene' s 
amusing  mules. 


Klmer  h'rin 

Above,  Lila  l.ee's  favorite  daytime  frock  is  this  black 
and  white  crepe  de  chine  with  while  yoke  and  sleex'e^ 
and  a  white  tie.  The  cape  fastens  in  front.  Lila's 
hat  is  blach  felt;  her  slippers,  black  patent  leathei. 


Hedda  Hopper's  brown  woolen  voile  suit,  designed 
by  Howard  Greer,  has  a  tuck-in  blouse,  a  skirt  thai 
curves  to  the  figure  by  means  of  tiny  pin  tucks  and 
a  top  coal  which  ends  where  the  skirt  flare  begins 
Luxurious  red  fox  cuffs  and  a  real  lace  collar  and 
jabot  add  richness  to  the  ensembh 


'Daytime  dash  and  daintiness 


Left,  fashions  for  the  rain!  Kay  Francis  dons  a 
hat  and  coat  of  green  suede  at  the  slightest  sug- 
gestion of  an  overcast  sky.  W hy  not.  when  they're 
so  becoming?  The  harmonizing  accessories  are  a 
green  umbrella,  green  reptile  slippers,  and  pull-on 
suede  slaves. 


Below,  Howard  Greer  designed  this  black  fall  coai  and 
lledda  Hopper  wears  it.  Its  distinguishing  note  is  the 
collar  of  fine  caracul  which  frames  the  head.  It  is  cut 
on  intricate  lines.  Hedda  carries  an  envelope  has  of 
black  patent  leather  trimmed  with  <;nakeskin. 


II  urrril 


Klmrr  Fryer 


liillie  Dove's  black  satin  frock  sets  off  her 
oveliness.  With  it  she  wears  a  black  felt 
hat,  a  novelty  necklace,  and  carries  an 
envelope  hat;  of  black  and  silver  brocade. 


You  Can  Be  Smart 


Rita  La  Roy  shows  you  some  of  her  new 
fall  clothes  which  she  made  herself 


All  these  photographs  of  Rita  La  Roy 
by  Ernest  A~  Bachrach. 


It's  possible  for  a  girl  to  dress  well  without  spending 
too  much  money,  declares  Rita.  This  smart  street 
frock  she  is  wearing  above,  for  instance,  can  be  made 
for  SIS!  Note  the  cowl  collar  with  its  long  ties,  the 
sailor  sleeves  and  the  polka  dot  pattern. 


Right,  of  yellow  crepe  de  chine,  this  formal  evening 
gown  worn  by  Miss  La  Roy.  The  lines  are  simple. 
The  shoulder  straps  are  of  crystals  matched  by  the 
crystal  jewelry  ensemble  including  necklace,  earrings, 
and  slipper  buckles. 


Without  Splurging 


It's  possible  to  be  both  smart  and 
sensible,  says  Rita— and  proves  it! 


Below,  with  her  dance  frock  Rita 
wears  a  short  chiffon  velvet  eve- 
ning wrap  of  periwinkle  blue,  and 
antique  earrings  and  necklace  of 
crystal  and  old  gold. 


Above,  Rita's  dance  frock  of 
flowered  pussy-willow  silk 
can  be  made  for  $15.  An 
enormous  bow  in  the  back 
fives  the  old-fashioned  bus- 
tle effect,  and  its  long  ends 
simulate  the  fold  falling  be- 
low the  skirt  hem  in  front. 


Above,  Rita's  smart  and 
serviceable  black  jacket  suit 
has  a  blouse  of  white  pongee 
cut  in  tailored  fashion.  Rita 
is  wearing  a  black  and  white 
felt  hat,  black  gloves  with 
white  stitching,  and  carrying 
a  black  and  white  tweed  bag. 


Hiirrfll 

Hedda  Hopper's  willowy  beauty  en- 
hances the  grace  of  this  formal  frock 
designed  hy  Greer.  Of  pale  blue  chii 
fon,  it  shows  mirror  anil  pearl  trim 
mints,  dyed  in  the  same  lovely  pali 
pastel  shade 


Herritan  Zerrenner 
Ginger  Rogers'  pink  satin  evening 
dress  has  a  becoming  neckline. 
I  ke  cap  sleeves  are  a  youthful  ex- 
pression. The  flowers  are  of  self- 
fabric  in  deep  rose  and  mulberry. 


Murrrtl 

Another  view  of  Miss  Hopper's 
Greer-designed  gown,  named  by  him 
the  'Beverly-Wil  shire.'  N«te  that 
Hedda s  only  ornaments  are  a  rint: 
and  bracelet.  This  frock  is  complete 
without  accessories 


Hollywood's  Version  of  the  Evening  Mode 


Screen  Beauties  Interpret  the  Paris  Trend 


Sue  Carol  looks  even  more  be- 
witchingly  young  than  usual  in  her 
favorite  new  evenine  wrap,  with 
its  luxurious  all-enveloping  border 
and  cuffs  of  white  fox. 


'Chic'  is  the  name  of  this  Howard 
Greer  wrap  worn  by  Hedda  Hop- 
per, and  chic  it  is,  with  its  barrel- 
styled  sleeves  of  ermine,  its  scarf, 
and  its  lengthened  lines. 


F.lwf.r  Frjui 


Billie  Dove's  black  chiffon  gown 
goes  in  heavily  for  ruffles,  starting 
at  the  low  hip  line  and  reaching 
to  the  floor.  The  bow  is  developed 
in  rkinestones. 


Fryer 


Advance  Fur  Fashions 


Left,  a  luscious  evening  wrap 
of  Russian  white  ermine 
with  sable  shawl  collar  is 
worn  by  Lil'a  Lee.  It  dips 
in  the  back  and  is  ruffled 
upward  in  front. 


Right,  the  elegance  of  black 
caracul  is  manifest  in  this 
creation  worn  by  Loretta 
Young.  The  shoulder-cape 
theme  is  presented.  The 
skirt  is  slightly  flared. 


Below,  left,  the  lounging 
pajamas  of  the  new  season! 
The  coatee  is  of  white  galyak 
with  scarf  collar;  the  wide 
nautical-cut  trousers  are  in 
black  caracul. 


Below,  right,  another  glimpse 
of  the  new  fur  pajamas  of 
black  and  white.  Note  the 
peplum.  And  doesn't  Myrna 
Loy  look  yummy  in  this 
smart  ensemble? 


Photographs  of  Misses 
Yoimg,  Lee  and  Loy 
by  Bert  Long-worth ; 
of  Miss  Moylan.  by 
Tlurrell. 


Worn  by  Screen  Stars 


Above,  ideal  for  the  deb  is  Sue  Carol's  off- 
white  gown  of  moire  taffeta  with  its  simple 
lines.  A  crystal  buckle  at  the  belt,  crystal 
necklace  and  bracelets  and  slipper  buckles  are 
the  only  ornaments. 

Left,  the  flaring  sleeves  are  the  distinctive 
feature  in  this  frock  worn  by  Dorothy  Jordan. 
/Sands  of  silver  cloth  outline  the  neckline  and 
edge  the  snug  elbow  sleeves  above  the  cuffs. 


Film 


Favorites  Grace  the 


Frr,l 


Above,    Lotti    l.oder    wears    with  Continental 
chic  this  white  satin  evening  gown  with  crystal 
shoulder-straps.    Nate  the  classic  simplicity  of 
most   oi   the  new  gowns  for   the  fall. 


Right,  with  her  gown  pictured  on  the  opposite 
page   Dorothy  Jordan   wears  this  short  white 
velvet  wrap  with  a  collar  of  white  fox  with 
fox    heads  forming  an   unusual  cuff  finish. 


I  New    Gowns    and  Wraps 


o4cCESSORIES 


Left,  Bessie 
Love  likes  to 
have  her  shoes 
match  her  bag. 
She  chooses 
snakeskin.  Both 
shoes  and  hag 
are  front  I. 
Miller  and  Sons, 
Inc.  Smart! 


Raquel 
new  ha 
has  a 
device 
the  flap 
her  s 
change, 
mended 
busy 


Torres' 
ndb  a  g 
special 
inside 
to  hold 
mall 
Recom- 
for  the 
girl. 


Right,  Kay  Francis'  favorite 
afternoon   hat   is  developed 
in  smart  black  satin. 


Important 


Left,  the  glove  bracelet 
worn  by  Fay  Wray  over 
her  gauntlet  is  com- 
posed of  ivory  and  old 
gold.  Others  are  made 
of  onyx  or  crystal. 


Right,  Ruth  Rowland's 
novelty  jewelry  ensem- 
ble of  necklace,  ring, 
and  bracelet,  fashioned 
of  Chinese  gold,  with 
stones  of  matrix  and 
cornelian. 


HOWARD  GREER,  noted  fashion  designer, 
is  seen  here  with  Hedda  Hopper.  Mr. 
Greer  designed  the  lovely  costumes  worn  by 
Miss  Hopper  on  this  and  other  pages  of  our 
fall  fashion  section. 


for    September  1930 


51 


Mister  Brown 


Joe  is  a  sensible 
comedian— he  has 
no  Hamlet  complex 


One  platitude  after  another  rolls  out  of  the  fun- 
niest mouth  in  the  world.  It's  typical  of  Joe 
E.  Brown  that  he  wishes  one  would  notice  the 
platitudes  rather  than  the  mouth.  As  it  is, 
attention  is  divided  between  the  two  with  the  mouth  get- 
ting a  bit  the  best  of  it.  He  twists  bromides  and  makes 
them  so  much  his  own  that  they  sound  original. 

But  he  doesn't  hide  an  aching  heart  beneath  an  exterior 
of  mirth  and  he  doesn't  want  to  play  Hamlet  and  he 
doesn't  give  a  hang  about  what  happened  to  the  young 
Napoleon  and  he  can't  work  up  a  frenzy  over  antiques. 
Which,  after  all,  should  entitle  him  to  some  distinction 
in  Hollywood,  where  comedians  are  popularly  supposed 
to  be  very  serious  fellows  who.  go  around  with  long  faces, 
artistic  ambitions,  dyspepsia,  and  other  impressive  affecta- 
tions. 

That  brings  us  to  Mister 
Brown  himself  —  one  just 
doesn't  call  him  Joe  until  the 
acquaintance  progresses  to  the 
point  where  Mister  Brown 
quite  spontaneously  and  of  his 
own  free  will  slaps  one  on  the 
back.   And  what  a  slap! 

What  with  psychoanalysis, 
numerology  and  everything 
getting  such  a  big  play  these 
days  we  might  just  as  well 
give  you  the  facts  and  let  you 
work  them  out  in  your  own 
favorite  ism  or  ology.  It's 
quite  all  right  because  Mister 
Brown  would  love  being  ana- 
lyzed. Being  analyzed  means 
having  attention  and  Mister 
Brown,  sterling  showman  that 
he  is,  realizes  almost  better 
than  anyone  out  talkie  town 
way  the  value  of  having  atten- 
tion.   So  here  goes 

Most  people  think  he's  Irish. 
Sometimes  he's  complimented 
and  again  he  isn't.  It  all  de- 
pends upon  who  says  it.  Be 
that  as  it  may,  he  isn't  Irish. 

His  father,  Mathias  Brown, 
was  German;  and  his  mother, 
Anna  Brown,  was  Welsh. 
That,  he  avers,  had  nothing 
whatever  to  do  with  his 
mouth.  It  was  one  of  those 
things  that  just  happened. 

Mathias  was  a  contractor 
who  had  difficulty  in  making 
ends  meet.   The  family  occu- 


There's    no    aching    heart    hiding  beneath 
Joe  E.  Brown's  smiling  exterior.  He  started 
with  a  circus. 


By 

Bradford  Carroll 


pied  half  of  a  duplex  apartment  house  in  Toledo,  Ohio. 
The  other  half  was  rented  by  the  Maloneys,  a  clan  with 
numerous  children  and  scant  finances.  The  whole  place 
swarmed  with  Browns  and  Maloneys  of  assorted  sizes  and 
temperaments. 

One  of  the  Maloney  boys  got  a  job  with  a  circus  as  a 
member  of  an  acrobatic  aerial  act.  He  promised  Joe 
Brown  that  he  would  get  him  into  the  act  when  there 
was  an  opening. 

Joe  was  nine  years  old  when  he  became  the  youngest 
member  of  The  Five  Marvelous  Ashtons,  a  sensational 
aerial  act  which  headlined  Ringling  Brothers,  Sells-Floto, 
Robertson's  and  other  large  circuses.  A  story  has  been 
published  to  the  effect  that  Joe  ran  away  with  the  circus 
but,  as  a  matter  of  fact,  he  went  with  the  full  knowledge 
and  consent  of  his  parents  who  could  see  no  reason  for 

being  excited  about  having 
one  less  mouth  to  feed. 

The  manager  of  the  Ashton 
troupe  beat  the  younger  boys 
and  gave  them  barely  enough 
to  keep  body  and  soul  to- 
gether. Just  before  the  season 
closed  he  always  bought  them 
a  new  suit  of  clothes  so  Joe 
went  back  to  his  home  in 
Toledo  for  the  vacation  look- 
ing very  prosperous.  He  never 
told  his  mother  how  he  was 
mistreated  for  fear  she  would 
not  let  him  return.  Traveling 
with  a  circus  gave  him  unde- 
niable prestige  in  the  eyes  of 
Toledo  schoolboys. 

The  Ashtons  were  filling  a 
vaudeville  engagement  in  San 
Francisco  at  the  time  of  the 
great  earthquake  of  1906.  Joe 
declares  that  he  has  never  had 
such  a  good  time  in  all  his 
life.  He  treated  the  whole 
affair  just  as  though  it  had 
been  staged  for  his  personal 
enjoyment. 

He  raided  a  demolished 
grocery  store  where  he  ob- 
tained crackers,  $100  worth  of 
caviar,  a  case  of  canned  corn 
and  a  case  of  champagne.  He 
had  all  he  wanted  to  eat  for 
the  first  time  in  months  and 
became  gloriously  drunk  on 
the  champagne.  His  landlady, 
seeing  that  her  home  would 
(Continued  on  page  122) 


52 


4 


SCREENLAND 

With  Lillian  Roth  (left)  modernism  finds  its  outlet  in  jewelry. 
The  distinctive  and  beautiful  set  she  is  wearing  is  of  genuine 
Chinese  jade. 


Below:   Charlie  Mack's  modest  mansion  of  twenty-two  rooms 
is  done  entirely  in  cubes  and  oblongs.    Note  the  fireplace 
with  its  unusual  lines. 


s 


trange  things  transpire  under  the  Hollywood  sun 
but  none  are  stranger  than  the  determination  of 
the  folks  who  make  the  movies  to  be  different  at 
all  costs.  The  insistent  struggle  for  distinction  is  as 
unending — and  quite  as  important — as  the  fight  to  the 
top.  The  crest  of  individuality  is  the  peg  over  which 
publicity,  public  attention  and  other  what-nots,  so  dear 
to  the  heart  of  the  actor,  is  draped.  Thus,  Clara  Bow 
dyes  her  hair  flamingo;  Alice  White  goes  sockless;  Joan 
Crawford  carries  dolls;  Ruth  Roland  wears  tiaras;  Charlie 
Farrell  owns  a  Ford. 

The  motor  cars  of  the  celebrated  are  colorful  beyond 
description.  Bright  greens  and  reds,  yellows  and  blues, 
black  and  whites  are  the  favorite  motifs. 

Clothes  are  equally  colorful.  Anything 
from  pajamas  to  overcoats  may  be  checkered 
in  any  preferred  combination,  yellow  and 
black  being  a  specialty. 

The  fad  of  the  hour — modernism — which 
sounds  a  warning  note  to  the  rest  of  the 
country,  is  only  a  gentle  hint  to  Hollywood 
who  can  be  guaranteed  to  go  it  one  better, 
and  those  who  might  criticize  the  extremity, 
have  only  to  remember  that  the  things  that 
make  the  stars  different  are  the  very  things 
that  cause  us  to  write  fan  letters.  The  less 
like  You  and  I — the  better. 

When  material  things  fail  there  are  always 
ideas  to  fall  back  upon,  and  when  the 
moderne  influence  made  itself  felt  just  re- 
•cently,  Hollywood  took  it  up  with  a  gust 
of  enthusiasm  and  fitted  its  cubes  and  angles 
into  everything  from  furniture  to  marriage. 

It's  a  toss-up  whether  Buddy  Rogers  aims 
to  attract  with  his  clothes  or  his  automo- 
bile. Buddy  loudly  disclaims  that  there 
is  anything  extreme  about  his  sartorial 
adornment.     "My   clothes   may   be — well, 


They  Want 


Hollywood  stars 
go  the  current  fad  in 
modernism  one  better 

By  S.  R.  Mook 


Charles  'Buddy'  Rogers'  new  car  is  stream-lined  like  nothing 
ever  seen  before.    The  body  is  navy  blue,  striped  and  streaked 
in  a  lighter  shade  of  blue. 


for    September  1930 


53 


Lilyan  Tashman   (right)   has  been  a  radical  from  the  time 
she  hit  Hollywood.    But  where  her  modernism  runs  rampant 
is  in  literature  and  art. 


Below,    Dorothy    Sebastian    in    her    ultra-modern  bungalow 
home  has  all  the  modernistic  accessories  with  which  to  express 
her  colorful  personality. 


Tjifferent 


'tricky,'  but  they  aren't  extreme,"  he  insists.  On  the 
other  hand,  it  might  ruin  a  banker  to  go  to  work  in 
the  same  outfit  Buddy  dons  for  a  morning  suit.  But 
even  Buddy  has  to  admit  that  the  car  is  something 
else  again. 

Believe  me,  it  is!  It  is  a  Dupont  and  is  stream-lined 
like  nothing  you've  ever  seen  before — or  since.  The  body 
is  navy  blue,  streaked  and  striped  in  a  lighter  shade  of 
blue.  The  tires  are  a  heavy  cord,  so  heavy  that  the  car 
can  be  run  on  a  flat  without  damaging  the  tubes.  It  is 
a  convertible  type  and  can  be  made  into  a  town  car, 
sedan  or  sports  touring. 

The  practical-minded  Buddy  explains  that  it  was  this 
feature  which  attracted  him  to  the  car  as  it  enables  him  to 
get  along  with  one  car — an  open  car  for  himself  and  a 
closed  car  for  his  family.  That,  and  the  fact  that  he 
got  such  a  good  trade  on  his  Packard.  But  I  believe  that 
unless  it  had  been  bizarre  he  would  not  have  bought  it 
despite  the  practical  advantages  it  offered. 

The  seats  are  pneumatic  and  are  made  of  light  blue 
leather.  Sitting  down  on  one  of  them  is  like  sinking  into 
old  Aunt  Abby's  feather  bed.  There  are  windshields  and 
wind-deflectors  wherever  you  look.  Five  gear  shifts — four 
forward  and  one  reverse.  Two  cabinets  in  the  back:  one 
for  a  radio  (which  Buddy  rejected  because  it  cost  $300 
extra)  and  the  other  for  the  family  jewels  or  other  valu- 
ables.* 

In  defending  this  yen  for  the  extreme  Buddy  says: 
"Things  like  this  (indicating  his  car)  express  the  period 

*  Buddy  wishes  it  clearly  understood  that  the  gag  about  one  of  the  cabinets 
in  his  car  being  suitable  as  a  safe  for  the  family  jewels  and  other  valuables 
is  only  a  gag.  He  has  no  family  jewels  and  doesn't  drink  so  he  uses  it  to 
keep  magazines  in.  I  stoutly  maintain,  however,  that  if  he  had  family  jewels 
or  liquor  he  could  keep  them  in  that  cabinet. 

Author's  note. 


we're  living  in.  Just  because  it's  new,  why  should  we 
avoid  it  and  stick  to  the  conservative  things?  It's  the 
different  things  that  advance  the  world.  People  expect 
actors  to  be  different  so  why  shouldn't  we  take  advantage 
of  it?    It's  fun!" 

It's  the  same  with  Lilyan  Tashman,  who  has  managed 
to  establish  herself  as  an  authority  on  every  subject  requir- 
ing the  need  of  one.  Lilyan  has  been  a  radical  from  the 
time  she  hit- Hollywood.  It  was  her  idea — that  putting 
bowls  of  very  moderne  fruit  in  her  bathroom. 

But  where  modernism  really  runs  rampant  in  Lilyan 
is  in  literature  and  art.  "Go  back  to  Thackeray  and  you 
find  the  whole  book  cluttered  up  with  descriptions  of  this 
and  that  and  nothing  at  all.  Today  in  books  the  same 
thing  is  said  in  a  paragraph  of  three  or  four  sentences. 
We  use  shorter  sentences  and  choose  words  that  have  a 
terrific,  driving  power.  Words  that  will  convey  what  we 
formerly  took  a  sentence  to  put  across.  I  can  cite  you  any 
one  of  a  half  dozen  old  books  that  are  just  as  frank  as 
'Galaxy,'  'Yama,'  'Lady  Chatterley's  Lover,'  'Other  Men's 
Wives,'  etc.  Take  these  and  compare  them  to  Boccaccio's 
'Decameron  Nights,'  or  de  Maupassant.  I  think  you  will 
agree  that,  despite  the  reputation  that  has  accrued  to  the 
latter  works,  these  modernistic  ones  are  equally  well  writ- 
ten, the  subjects  just  as  adroitly  handled,  and  infinitely 
more  interesting.  I  do  not  believe  that  modernistic  liter' 
ature  is  necessarily  erotic  but  I  think  it  is  franker  and 
possibly,  more  esoteric  as  a  general  rule  than  that  of 
fifteen  or  twenty  years  ago." 

Miss  Tashman  whisked  out  of  the  room  to  get  some 
modernistic  refreshments  and  I  started  looking  through 
some  of  the  modernistic  literature.  The  pictures  I  saw  made 
me  feel  more  like  "Alice  in  Wonder-  (Cont.  on  page  120) 


SCREENLAND 


for    September  1930 


5  5 


t 


Nancy  Carroll 


When  a  screen  beauty  becomes  a  star — 
that's  nothing.  But  when  a  star  turns  into 
a  first-rate  dramatic  actress,  that's  news. 
The  transformation  of  a  cutie  into  an  artist 


IT  happens  every- 
day. A  pretty 
little  girl  steps 
out  of  the  chorus 
or  stock  or  somewhere 
into  pictures.  The 
public  takes  to  her 
hair  or  her  eyes  or 
her  smile  or  some' 
thing  and  presto! — 
she's  a  star.  And 
that's  that.  And 
usually,  that's  all. 

But  here's  something  new.  Here's  a  cutie  who  cut 
loose  from  the  ensemble  because  she  wanted  to — she  had 
to — act.  She  found  a  place  in  pictures  because  she  was 
so  all-fired  nice  to  look  at.  But  her  acting  ambitions 
languished  from  lack  of  nutrition.  Nobody,  apparently, 
expected  her  to  act.  All  that  was  required  of  her  was  to 
look  pretty.  You  might  expect  her  big  ambitions  to  lay 
right  down  and  die.  But  you  don't  know  this  particular — 
and  very  special  little  red-headed,  fighting  Irish  girl. 

Meet,  then,  Nancy  Carroll.  No,  no,  not  that  one.  You 
don't  know  this  Nancy.  She's  new.  She's  hot.  She's  a 
real  dramatic  actress  about  whom  critics  as  well  as  public 
are  never  tired  of  raving.  Since  "Devil's  Holiday"  she  has 
risen  from  the  ranks  of  mere  'stars'  into  the  Big  Six  of 
potent,  important 
screen  people. 
Cuties  come  and 
go.  The  new 
Nancy  Carroll  is 
here  to  stay. 

No  more  '"Sweet- 
ies" or  "Honeys  ' 
for  her.  From  now 
on  she  will  do 
drama.  Her  next 
will  be  "Laughter" 
and  she  swears 
there  is  no  theme 
song  in  it. 

But  maybe  we'd 
better  go  back  to 
the  beginning. 
That  is,  the  begin- 
ning  of  Nancy 
Carroll.  It's  not 
so  far  back,  at 
that,  but  you'd 

never    know    she  A7  ,.  , 

,  .  When  Nancy  Carroll  was  the 

was  the  same  girl!  cherub  of  the  chorus>  in  her 

Twenty    years  Broadway  musical  comedy  days. 


By  Thomas  Talbott 


ago,  a  bare-footed 
Irish  girl,  four  years 
old,  played  about  the 
Tenth  Avenue  rail- 
road tracks  which 
run  along  a  certain 
section  of  New  York 
City's  Hudson  River 
front. 

This  community 
was  composed  almost 
entirely  of  Irish,  flung 
across  the  Atlantic  Ocean  on  the  broad  ebb  tide  of  emigra- 
tion. You  would  think,  in  such  a  Gaelic  gathering,  one  little 
freckle-faced  Irish  girl  more  or  less  wouldn't  make  much 
difference.  But  this  one  did.  She  stood  out  in  the  neigh- 
borhood, even  then.  A  rose  blooming  on  an  ash  heap. 
There  was  temperament,  deviltry  in  her  blue  eyes,  and  a 
power  of  wise  words  at  the  point  of  her  agile  red  tongue, 
on  both  of  which  she  has  capitalized  two  decades  later. 

When  the  child  turned  fourteen  and  left  the  eighth 
grade  to  go  on  the  stage,  the  neighbors  said  she  would 
come  to  no  good  end.  But  she  did.  Today,  she  is  one 
of  the  greatest  dramatic  actresses  on  the  talking  motion 
picture  screen.  And  it  has  all  come  about  over  night 
so  far  as  the  world  is  concerned.  . 

Yesterday,  she  was  a  chorus  cutie  from  Broadway,  de- 
pending upon  the 
curve  of  breast 
and  ankle  to  get 
ahead  in  the  world. 
Today,  she  is  at 
the  top  of  the 
heap.  Fixed.  Fast. 
Fearless. 

"Devil's  Holi- 
day," one  of  the 
finest  talking  pic- 
tures to  date, 
raises  Nancy  to  a 
dramatic  position 
which  she  has 
never  occupied 
before. 

Sure,  "Devil's 
Holiday"  has  only 
the  usual  hack- 
neyed plot  which 
can  be  summed  up 
in  seven  words : 
""Hard-boiled  girl 
meets  young  love. 
(Cont.  on  page  118) 


Today's  new  Nancy  can't  help 
grinning  when  she  looks  at  the 
chubby    kid    she    used    to  be. 


56 


SCREENI!  AN  D 


JWake  Way 


These  camera  artists 
make  some  of  the 
'Most  Beautiful  Stills' 


Clifton  Kling  and  Gaston  Longet  have 
been  signed  by  RKO  to  make  camera 
studies  of  current  productions.  The 
boys  will  have  as  subjects  such  stars 
as  Bebe  Daniels,  Richard  Dix,  Betty 
Compson,  Dorothy  Lee,  June  Clyde. 


IF  two  out  of  five  hundred  contestants 
win  ten  out  of  twenty  contests,  cer- 
tainly  the  winners  know  their  bus- 
iness! 

If  these  two  are  'still'  cameramen,  and 
a  certain  film  studio  adds  them  to  its  roster 
— the  studio  also  knows  its  business! 

Which  is  to  say   that  RKO  recently 
signed  Clifton  Kling  and  Gaston  Longet  on  contracts. 

Between  them,  these  two  cameramen  won  ten  of  SCREEN' 
land's  "Most  Beautiful  Still  of  the  Month"  contests 
within  20  months. 

Kling  had  six  stills  published  in  a  full  page  display,  while 
Longet  won  the  page  with  four. 

Both  recently  won  front  cover  positions  on  International 
Photographer's  magazine.  More 
than  one  thousand  professional 
photographs   compete  monthly 
in  this  contest. 

Longet,  a  native  of  Paris,  ex- 
plains his  technique  as  follows: 
"Composition  is  the  impor- 
tant thing  in  beautiful  camera 
studies.  That  implies  balance, 
proportion,  and  suitable  subject 
matter." 

Kling  maintains  "Color  is  the 


th 


ing! 

He  was  cautioned  that  color 
translates  into  black  and  white 
when  photographed. 

"Yes,  but  it  is  the  vibrant 
shades  of  black  and  white  that 
count.  The  result  is  action  in 
stills! 

"You  see*  I  raise  gladiolas — I 
study  natural  color!" 

A  short  essay  on  horticulture 
followed  before  he  could  be 
stopped.    It's  Kling's  avocation. 

Both  work  with  different  for- 
mulae. Both  arrive  at  prac- 
tically the  same  result. 

It  never  occurs  to  either  that 
they  are  gifted  with  a  sense  of 


Longet  and  Kling  won  their  contracts  on  the 
strength  of  their  pictures  which  won  Screen- 
land's  "Most  Beautiful  Still"  page  ten  out 
of  twenty  months.    We  can  pick  them! 


beauty  denied  the  majority  of  human  beings. 

"Now  there's  Betty  Compson,"  says  Kling,  who,  unlike 
Longet,  has  been  cut  from  a  Huckleberry  Finn  pattern — 
even  to  freckles,  cow-lick  and  boyish  heedlessness.  "There's 
a  woman  with  color! 

"But  (and  he  mentioned  another  star),  gee,  what  a 
difficult  subject!" 

There  is  nothing  that  arouses 
antagonism  in  a  'still'  man  like 
an  unphotographable  subject. 

"Pola  Negri,  Richard  Dix 
and  Bebe  Daniels  will  work 
with  you  'til  the  cows  come 
home.  Negri  is  difficult,  but 
makes  up  for  it  by  working 
hard  to  please." 

"Let  me,"  chimed  in  Longet, 
"say  a  word  for  my  favorite 
movie  subjects.  Of  all  the  men, 
give  me  Emil  Jannings  and  Bert 
Wheeler.  I  can  photograph 
the  back  of  their  heads  in  a  fog 
and  get  a  personality  picture  of 
either. 

"The  women?  I  choose  Lupe 
Velez;  or  Olive  Borden.  Their 
dark  beauty  provides  the  happy 
medium  between  high-lights  and 
shadow!  Marvelous!  N.'est- 
ce  pas?" 

The  competition  is  keen 
among  Hollywood  camera  artists 
to  win  our  'Most  Beautiful 
Still'  page.  Some  time  we'll  tell 
you  more  about  these  clever 
men  behind  the  cameras.  Hail 
the  'still'  artists! 


for    September    19  3  0 


57 


for  the  d^RTISTS! 


Rockwell  Kent 
designs  a 
mural  for 
play- 


movie 


louse 


Photographs  by 
Peter  Juiey  and  Soil 


Right:    detail    of  Rock- 
well   Kent's    mural,  the 
largest  single  canvas  ever 
commissioned. 


A  sketch  of  Rockwell  Kent's  gigantic  mural,  a  single 
canvas  five  thousand  feet  square,  designed  for  the  Cape 
Cinema  at  Dennis,  Cape  Cod,  Mass.  It  is  twice  the  size 
of  Tintoretto's  'Paradise'  and  is  a  symbolic  represen- 
tation of  the  heavens. 


When    every    well-known    author,  artist, 
Broadway    actor    and    producer  seems 
headed  for  Hollywood  and  the  talkies,  the 
announcement  that  the  artist,  Rockwell 
Kent,  and  the  scenic  designer,  Jo  Mielziner,  are  about 
to  enter  what  may  be  loftily  termed  'cinema  art'  might 
occasion  no  more  than  a  passing  "What  ho!"  or  "Well, 
well!" — except  that  the  Messrs.   Kent  and  Mielziner 
axe  going  in  for  the  movies  by  a  different  door,  as  it 
were.    In  the  first  place,  they  are  not  going  to  Holly 
wood;  and  they  have  not  been  engaged  for  a  fantastic  sum 
as  art  directors,  scenic  designers  or  even  light  and  color 
experts.    They  are  to  decorate  a  new  movie  playhouse,  the 
Cape  Cinema  at  Dennis,  Cape  Cod,  Mass.    Both  are  very 
serious  about  it,  quietly  engrossed  in  it  at  present,  and 
seem  hopeful  that  their  gesture  in  applying  a  modern 
artist's  concept  to  the  inside  of  a  movie  house  may  stimu- 
late  a  lot  of  other  artists  to  go  and  do  likewise. 

"For  a  long  time  it  has  struck  me  as  peculiar,"  com- 
mented Jo  Mielziner  yesterday,  at  his  scenic  studio,  where 
he  stood  surrounded  by  maps,  blue  prints,  and  canvasses, 
"that  modern  art  has  been  used  in  every  branch  of  motion 
picture  work  except  theater  interiors.  Often  the  building 
itself  shows  the  best  of  modern  architecture.  We  all  know 
about  the  time  and  money  lavished  on  the  making  of  pic- 
tures themselves.  But  the  inside  of  most  movie  houses  is 
hopelessly  behind  the  times.  That's  why  it  fascinates  an 
artist  of  the  fame  of  Rockwell  Kent  to  work  on  this  little 
cinema  that's  being  built  on  Cape  Cod." 

Mr.  Kent,  who  has  done  nearly  everything  else  in  the 
art  field,  with  a  good  deal  of  resulting  glory,  has  never 
before  worked  in  the  theater.   Mielziner  has  seldom  worked 
outside  the  theater;  he  is  famous  for  his  stage  settings. 
The  history  of  the  Cape  Cod  venture  interested  Kent 


The  Cape  Cinema,  an  old  church  turned  into  a  theater. 
Rockwell   Kent   and   Jo    Mielziner,    the    scenic  artist, 
have  done  the  decorating. 


and  Mielziner  not  a  little.  A  young  Virginian  named 
Raymond  Moore,  who  loved  the  theater  and  was  one  of 
the  Provincetown  group  of  painters  not  so  long  ago,  set- 
tled at  Dennis,  Cape  Cod,  several  summers  ago,  and 
wanted  something  to  do  and  somewhere  to  go  evenings. 
He  bought  an  old  church,  turned  it  into  a  theater,  and 
rounded  up  some  Broadway  actors  who  fell  in  with  the 
idea  of  working  and  vacationing  on  Cape  Cod  at  the  same 
time.  "The  Cape  Playhouse,"  said  Jo  Mielziner,  "has  had 
three  seasons  of  unusual  success,  with  good  Broadway 
plays  and  players.  But  Raymond  Moore  decided  that 
entertainment  on  the  Cape  was  not  complete  without  a 
movie  house.  As  an  artist  he  had  definite  ideas  about  the 
kind  of  theater  he  wanted.  It  must  be  simple,  in  the  mood 
of  the  Cape,  intimate,  comfortable,  and  unusual.  That  he 
interested  architects  like  Rodgers  and  Poor,  who  designed 
the  building,  and  drew  Rockwell  Kent  into  the  theater 
after  all  these  years,  is  proof  of  Mr.  Moore's  belief  in 
his  idea." 

The  outstanding  decoration  of  the  house,  according  to 
Mielziner,  will  be  a  gigantic  mural,  a  single  canvas  five 
thousand  feet  square.  "This  is  the  largest  single  canvas 
ever  commissioned,"  put  in  the  artist.  "It  is  twice  the 
size  of  Tintoretto's  famous  'Paradise'  in  Venice." 


5S 


SCREENLAN 


D 


ANN— Ash-blonde 


CONSTANCE— Golden-blonde 


Blondes  Still 

And  why  not,  when  they  are  as  interesting 
Meet  Mary  and  Constance  and  Helen  and 


Ann  Harding,  the  first  blonde  of  Pathe's  golden 
quartet  to  be  signed  by  that  company,  is  Broad- 
way's gift  to  the  screen.    She  made  her  first  big 
"  stage  hit  in  "Tarnish11  but  there's  real  14  karat 
gold  in  that  ash-blonde  hair! 

About  seven  years  ago,  Ann,  an  army  officer's  daughter, 
quit  the  old  army  post  to  come  to  New  York.  She  imme- 
diately got  herself  a  job  with  the  Metropolitan — (no,  not 
Opera  Company)  Life  Insurance.  But  one  day  an  extra 
spurt  of  ambition  seised  her  and  she  hied  herself  down  to 
the  Provincetown  Playhouse,  where  a  group  of  writers  and 
actors  were  managing  a  'little  theater  movement.1  P.  S. 
She  got  the  job!  She  remained  until  their  season  closed. 
Then  she  accepted  a  role  in  "Like  A  King,"  which  died 
before  it  reached  Broadway.  Next  she  tried  stock.  Later, 
in  "Tarnish,11  she  emerged  as  the  season's  theatrical  find. 
"The  Trial  of  Mary  Dugan"  was  another  success. 

By  this  time  Miss  Harding  was  Mrs.  Harry  Bannister, 
mother  of  little  Jane  Bannister.  Harry  Bannister  was  sent 
west  with  "Strange  Interlude.11  So  the  Bannister  family 
moved  to  California.  Ann  had  no  movie  aspirations  at 
that  time  but  almost  every  movie  company  bid  for  her 
services  and  Pathe  won  her  signature.  Ann  is  about  five 
feet  two  inches  in  height,  and  weighs  about  106  pounds. 
She  always  wears  her  long  ash-blonde  hair  in  Madonna- like 
fashion.  Her  eyes  are  a  clear  blue-gray.  Her  new  pictures 
are  "Holiday11  and  "The  Girl  of  the  Golden  West.11 


Constance  Bennett's  mother  didn't  want  her  to 
be  an  actress.  This  blondest  of  the  glamourous 
Bennetts  seemed  all  set  for  a  social  career.  She 
attended  a  Park  Avenue  school  for  girls  and  later 
Mrs.  Merrill's  school  in  Mamaroneck — then  on  to  Paris 
where  she  was  'finished'  at  Mme.  Balsan's  school.  An 
education  for  a  debutante — which  Constance  duly  became 
at  a  formal  coming-out  in  Washington.  Mrs.  Bennett's 
domestic  ambitions  for  her  pretty  daughter  looked 
promising — until  papa  Bennett  took  her  to  an  Equity  Ball 
in  New  York.  Samuel  Goldwyn,  picture  impresario,  was 
present;  and  after  one  look  at  Miss  Bennett  he  offered 
her  a  job — acting  in  the  movies.  The  deb  died  and  the 
actress  was  born! 

She  strolled  away  with  the  screen  version  of  Herges- 
heimer's  "Cytherea,"  her  first  role.  Then  came  a  career 
in  Hollywood  in  such  films  as  "The  Goose  Hangs  High" 
and  "Sally,  Irene  and  Mary."  Metro  offered  her  a  starring 
contract;  she  accepted — but  before  she  ever  went  to  work 
she  changed  her  mind  and  eloped  to  Greenwich,  Connec- 
ticut, with  a  young  Manhattan  millionaire  named  Phil 
Plant.  Society  had  reclaimed  Constance.  Then  the  Plants 
separated.  The  Marquise  de  la  Falaise  de  la  Coudraye, 
Pathe's  European  representative,  signed  Constance  for  his 
company.  Back  to  America  and  Hollywood  gold  and 
glory!  Golden  blonde  hair,  blue  eyes — 5  feet  4  inches, 
about  100  pounds  of  loveliness. 


for    September    19  3  0 


59 


HELEN— Golden-blonde 


MARY— Reddish-gold  blonde 


PREFERRED! 

as  Pathe's  prize  quartet  of  golden  beauties? 
Ann!  All  nice  girls  and  good  actresses 


Helen  Twelvetrees  says  it's  her  real  name. 
That's  why  she  has  fought  so  hard  to  keep  it 
when  stage  and  picture  producers  tried  to  per- 
suade her  to  change  it  for  a  shorter  and  snappier 
one.  "Anyway,"  says  sprightly  Helen,  "once  heard  it's 
never  forgotten!"  The  little  slender  blonde  whose  bete 
noire  is  being  told  that  she  looks  so  much  like  Lillian  Gish 
— not  that  she  doesn't  admire  Lillian  but  she'd  like  to  be 
liked  for  herself  alone — is  carving  a  real  career  for  herself 
in  Hollywood  after  a  false  start.  She  went  out  there  from 
Broadway  and  was  cast  as  a  lisping  girl  in  "The  Ghost 
Talks,"  thus  becoming  a  pioneer  talking  picture  heroine. 
However,  producers  got  the  idea  she  couldn't  speak  with- 
out lisping,  so  her  career  languished  and  she  was  about 
to  return  to  Manhattan  when  Pathe  decided  she  was  just 
the  type  for  "The  Grand  Parade."  She  scored  in  her 
second  chance  and  followed  with  "Swing  High."  Now 
she's  established. 

Helen  began  her  stage  career  with  the  Stuart  Walker 
Players  and  in  addition  to  acting  did  considerable  work 
as  an  artists'  model.  Remember  Alice  Joyce,  Dolores  Cos- 
tello,  and  other  luminaries  were  once  models,  too.  Helen 
qualified  with  her  well-proportioned  five  feet  three,  her 
delicate  features,  turquoise  blue  eyes,  and  soft  golden  hair. 
By  way  of  diversion  this  dainty  doll-like  blonde  actually 
prefers  prize  fights!  Helen's  latest  picture  is  "Her  Man," 
in  which  she  is  permitted  to  do  some  real  acting. 


Mary  Lewis  might  have  inspired  the  good  old  say- 
ing, "Oh,  you  Kidd!"  for  she  was  originally 
Mary  Kidd  of  Hot  Springs,  Arkansas.  But 
she  didn't.  Mary  doesn't  go  in  for  slang.  She 
is  a  very  good  scout  all  the  same,  never  having  forgotten 
her  early  struggles  nor  allowing  her  later  successes  to  alter 
her  head  size.  And  a  very  pretty  head  it  is,  too,  crowned 
with  reddish-golden  hair.  Her  eyes  are  blue,  her  lashes 
long;  her  figure  is  svelte  these  days,  thanks  to  Sylvia's 
massages  and  Mary's  grit  and  determination;  and  her  sense 
of  humor  is  in  excellent  working  order.  A  prima  donna 
with  common  sense — that's  Mary. 

She  can't  remember  when  she  first  began  to  sing.  And 
she's  always  loved  to  dance.  Both  talents  lead  her  to 
leave  Arkansas  with  a  musical  comedy  troupe;  and  when 
the  show  went  broke  in  San  Francisco,  she  got  a  job  sing- 
ing at  Tait's.  The  work  was  strenuous  and  it  never 
occurred  to  Mary  to  be  careful  of  her  voice,  until  one 
night  she  lost  it!  It  isn't  surprising  she  soon  found  herself 
in  pictures — remember,  they  were  silent  then.  She  became 
a  Christie  comedy  girl  and  stopped  custard  pies  until, 
one  day,  her  voice  came  back,  and  with  it  all  her  ambitions. 
She  went  to  New  York  and,  beginning  in  the  chorus, 
worked  her  way  up,  through  the  Ziegfeld  Follies,  to  the 
Metropolitan  Opera  House,  with  study  and  experience  in 
Europe  in  between.  Now  she  has  signed  to  do  two  pictures. 
The  first  will  be  "The  Siren  Song." 


60 


SCREENLAND 


A 


Gift 


Ramon   Novarro   and   the  gift   guitar   which  he 
offers  to  a  Screenland  reader  for  a  letter.  He 
has  autographed  it  to  the  winner — an  added  in- 
ducement to  you  to  enter  his  contest. 


from  Ramon  Novarro 


for    September  2930 


61 


Which  of  the  following  Ramon  Novarro  silent  screen  suc- 
cesses would  you  like  to  have  him  remake  into  talking  pic- 
tures: "The  Prisoner  of  Zenda,"  "Scaramouche,"  "Ben 
Hur,"  "The  Student  Prince"?  Write  a  letter  answering  this 
question  and  stating  your  reasons  for  selection.  The  best 
letter  wins  Ramon's  gift  guitar. 


All  photographs  of 
Mr.  Novarro  by  Hurrell 


Right:  the  versatile  and  mu- 
sical Ramon  Novarro  offers  a 
gift  in  keeping  with  his  per- 
sonality — a  musical  instrument. 
We  all  know  that  Novarro 
studied  voice  culture  before  the 
movies  learned  to  talk,  and  that 
he  plays  several  instruments,  in- 
eluding  the  piano,  organ,  and 
the  guitar.  This  Dobro  ampli- 
fying gift  guitar  is  exactly  like 
the  one  Ramon  himself  uses. 
It  comes  in  a  good-looking  black 
leather  case.  Write  the  best  let- 
ter and  win  his  gift.  By  best 
letter  is  meant  the  clearest,  sin- 
cerest  and  most  concise. 


Greta  Garbo  is  reviving  "Ro- 
mance. "  Long,  trailing  dresses 
and  old-fashioned  puff  sleeves 
are  in  vogue  again — and  now 
Ramon  Novarro  is  offering  a 
guitar  as  a  gift.  Who  said  the 
good  old  days  were  gone  for- 
ever?  It's  the  hey-hey  days  that 
are  passe.  The  guitar  is  the 
thing!  And  now  the  thing  for 
you  to  do  is  to  write  the  win- 
ning letter  answering  Ramon 
Novarro's  question  and  then 
you  will  be  able  to  strum  your 
favorite  theme  song  on  Ramon's 
guitar. 

Address:— RAMON  NOVARRO 
Scree nland  Contest  Department 
45  West  45th  Street 
New  York  City 

Contest    closes    September    10,    1930  ] 


62 


How   the    Stars  Entertain 


Carmel  Myers  gave  a  masquerade 
party  attended  by  the  elite  of  the 
film  colony.  Here's  the  hostess  in 
her  'drug-store  cowboy'  suit  of  white 
satin  and  ostrich  feathers. 


M' 


ST  asquerade  parties 
are  so  delight' 
fully  devilish!"  ex' 
claimed  Patsy, 
"that  they  give  a  thrill  even  to 
this  more  or  less  hectic  Holly 
wood.  And  they're  so  romantic, 
too.  You  escape  into  such  a 
delightful  land  of  make-believe, 
where  all  sorts  of  .beings  of 
every  age  and  every  clime  make 
merry  side  by  side,  and — " 

"Forget  poetry,"  I  admon- 
ished,  "and  tell  your  pal  all 
about  it  in  Hollywood  language. 
Where  is  this  marvelous  party 
to  be  held?  Who  is  giving  it?" 

"Well,  that's  the  best  part 
of  it,"  Patsy  answered.  "Carmel 
Myers  and  her  husband,  Ralph 
Blum,  are  the  hosts,  and  you 
know  what  nice  parties  they 
give.  Carmel  has  a  sense  of 
humor,  thank  heaven.  Any 
body  who  gives  a  masquerade 
gets  so  much  out  of  it  if  he 
has  a  sense  of  humor." 

"Well,  as  long  as  the  joke 
isn't  on  us — "  I  answered. 

Vernon  Rickard  took  us,  and 
almost  as  soon  as  we  entered 
somebody — a  cute  girl  in  a  cow 
boy  outfit — or  was  it  a  cowgirl 
outfit?  —  told  Vernon  that  he 
probably  was  wanting  to  escape 
from  himself  by  wearing  that 
"Desert  Song"  outfit,  and  Ver- 
non,  being  Irish  and  gallant, 
answered  quickly  —  "Yes,  to 
escape  to  you!" 

Vernon  has  played  in  musical 
comedy  and  over  the  radio,  and 
is  headed  for  pictures. 

"It  would  be  a  shame  to  waste  his  good  looks  on  the 
radio,"  confided  Patsy. 

But  that  'cowgirl' — she  turned  out  to  be  Carmel  Myers 
herself,  after  we  unmasked. 

We  found  that  Carmel  had  gone  out  the  back  gate, 
and  had  come  in  the  front  way  like  a  guest.  Nobody 
guessed  who  the  little  figure  in  the  cowboy  outfit  was, 
although  everybody  agreed  that  no  cowboy  ever  went 


SCREENLAND 


Carmel  is  Mrs.  Ralph 
Blum  in  private  life. 
She  gave  her  party  in 
honor  of  Edith  and 
Irene  Mayer. 


about  his  chores  dressed  in  a 
satin  suit  of  white! 

Everybody  was  mystified  until 
a  tall  stranger  dressed  as  a 
gypsy  carelessly  put  his  arm 
around  Carmel.  Then,  as  she 
pushed  him  away,  somebody 
shouted,  "Carmel!"  From  which 
one  deduced  that  Carmel  did 
not  permit  strange  gypsies  to 
embrace  her. 

After  that,  Ralph  Blum,  clad 
in  Russian  costume  of  black 
satin,  pretended  to  be  very 
jealous  of  everybody  who  spoke 
to  Carmel. 

Just  then  Vernon  caught  sight 
of  a  cute  little  Dutch  girl,  and 
trotted  after  her.  He  said  he 
was  sure  she  wouldn't  be  able 
to  speak  a  word  of  English,  but, 
though  she  spoke  nicely  to  him 
in  French,  she  turned  out  to  be 
Lila  Lee,  who  is  as  American  as 
the  Statue  of  Liberty. 

"Carmel's  house  lends  itself 
beautifully  to  parties,"  remarked 
Patsy.  "I  suppose  it's  because 
Spanish  architects  have  in  mind 
the  big  families  and  the  warm 
hospitality  of  their  countrymen, 
and  this  house  is  Spanish." 

You  enter  a  big  sort  of  gar- 
den  patio  through  a  grille;  and 
that  patio,  on  the  night  of  the 
party,  was  softly  lighted  from 
the  house  and  with  colored 
lanterns.  There  was  a  bewilder- 
ing  array  of  guests,  and  we 
positively  couldn't  guess  who 
anybody  was  until  the  unmask- 
ing. 

Except  that  Patsy  said  she  was  sure  she  was  dancing 
with  Robert  Leonard,  once,  and  sure  enough  when  he 
unmasked  she  had  found  she  was  right.  He's  such  a 
wonderful  dancer,,  you  know. 

We  found  most  of  the  guests  either  in  the  patio  or 
in  the  big  whoopee  room,  which  is  right  off  from  it. 

"Oh,  look  at  the  little  sailor  with  the  long  blonde 
curls!"  exclaimed  Patsy.  "I'll  bet  she  started  out  to  be 
Lord  Fauntleroy  and  got  sidetracked." 


for    September  1930 


63 


HIGH  SOCIETY 


in 


HOLLYWOOD 


By  Grace  Kmgsky 


But  we  learned  afterward  that  the  sailor  boy  was  Mildred 
Davis  Lloyd.  And  it  turned  out  that  Mildred  had  thrown 
out  the  curls  as  a  signal,  as  it  were,  to  give  people  a  clue 
to  her  identity,  since  she  always  wore  them  when  she  was 
Harold  Lloyd's  leading  lady. 

Harold  himself  came  as  a  sailor,  too,  but  found  the 
room  too  warm  and  took  off  his  mask  almost  at  once. 
We  simply  couldn't  have  borne  that  from  anybody  except 
Harold,  but  he  was  so  amusing  about  it,  we  had  to  for- 
give him. 

He  said  he  never  saw  a  sailor  furling  the  flying  jib- 
boom  with  one  of  those  things  on,  and  he  wanted  to  be 
nothing  if  not  authentic. 

"I  don't  suppose,"  whispered  Patsy,  "that  Beatrice  Lillie 
ever  could  do  anything  so  undignified  as  to  kid  around 
in  a  masquerade,  do  you?  You  see  she  isn't  masked  or 
costumed,  and  as  a  matter  of  fact,  I  don't  think  it  would 
become  her  style  to  be." 

Miss  Lillie  looked  very  smart  in  a  charming  evening 


frown. 


The  men  all  seemed  to  favor  Spanish  bull-fighters'  cos- 
tumes, and  the  most  resplendent  matador  turned  out  to 
be  Carl  Laemmle,  Jr.  He  danced  with  a  lady  dressed  as 
Carmen,  whom  we  found  to  be  Norma  Talmadge,  but 
Norma  said  she  couldn't  possibly  be  persuaded  to  look  at 
a  bull-fight. 

Gertrude  Olmstead  was  a  lovely  little  Boy  Blue,  but 
didn't  seem  to  be  any  more  worried  about  the  sheep  of 
childish  legend  than  did  the  original,  for,  though  she 
blew  her  little  horn  melodiously,  she  seemed  quite  con- 
tented that  it  merely  brought  the  men  flocking  around  her. 

Lila  Lee,  Blanche  Sweet,  Jack  Conway  and  some  others 
had  a  lot  of  fun  standing  at  the  door,  pretending  to  guess 
who  the  guests  were,  and  calling  out  kiddingly  to  the 
masqueraders. 

They  called  out  "Little  Eva!"  to  Marie  Dressier,  who 
wore  a  blonde  wig  and  wide  hat;  and  they  dubbed  Carl 
Laemmle,  Jr.,  "Bull  Montana!" 

Mary  Eaton,  who  is  Mrs.  Millard  Webb,  wife  of  the 
director,  in  real  life,  was  dazzlingly  pretty  in  a  Queen 
Elizabeth  costume,  and  said  that,  thus  arrayed,  she  felt 
as  if  she  could,  if  she  wished,  boss  even  her  husband,  and 
that  she  needed  something  ultra  in  the  way  of  a  costume 
to  give  her  the  courage  to  really  boss  anybody. 

June  Collyer  looked  lovely  in  a  peasant  girl's  costume, 
and  attracted  a  crowd  of  gentlemen  peasants. 

Rosabelle  Laemmle  Bergerman,  Carl's  sister,  wore  a  pink 
chiffon  costume  like  those  worn  in  Paul  Whiteman's  pic- 
ture, "The  King  of  Jazz,"  and  Carl,  Jr.,  went  about  kid- 
dingly calling  attention  to  his  sister's  dress,  as  though 
advertising  the  picture,  by  exclaiming  from  time  to  time, 
"It's  from  The  King  of  Jazz!'  " 

Thelma  Todd  came  right  from  the  studio,  wearing  a 
thin  black  lace  costume,  which  became  her  blonde  beauty 
very  well  indeed.    Claudette  Colbert  wasn't  going  to  run 


any  risk  of  losing  her  reputation  for  being  the  best  dressed 
woman  of  New  York  by  putting  on  any  sort  of  disguise, 
apparently.  At  any  rate,  she  appeared  stunningly  clad 
in  a  biege  evening  gown,  with  no  mask. 

Hal  Wallis  and  Louise  Fazenda,  the  producer's  wife, 
were  there,  Louise  dressed  as  Buttercup  of  "Pinafore" 
fame,  and  acting  the  part  so  admirably  that  it  put  the 
idea  into  our  heads  to  dash  up  to  Harry  Warner  and 
beseech  him  to  film  the  Gilbert  and  Sullivan  opera  with 
Louise  as  Buttercup. 

Mr.  and  Mrs.  Paul  Sloane  were  there;  Patsy  Ruth  Miller 
and  her  director-husband,  Tay  Garnett;  Mr.  and  Mrs. 
Harry  Beaumont,  Mrs.  Harry  Warner,  with  her  husband; 
Mr.  and  Mrs.  Edwin  Justus  Mayer,  Johnny  Farrow,  Ed- 
mund Goulding,  Mr.  and  Mrs.  B.  P.  Schulberg,  and 
many  others.  (Continued  on  page  123) 


Bebe  and  Ben — Hollywood's  latest  and  most  popular 
young  married  couple.    Many  parties  were  given  in 
their  honor  by  their  famous  friends. 


64 


SCREENLAND 


Josephine  Dunn,   below,   matches  her 
skin   tone   in   powder.    A    bit  darker 
rather  than  lighter,  is  best  for  summer 
make-up. 


Dorothy  Jordan  stayed  out  too 
long  in  the  sun,  we  suspect,  but 
bleachnig  cream  will  remedy  that, 
so  she's  not  taking  it  too  seriously. 


Dorothy  Jordan  uses  lipstick  with 
discretion  and  artistry,  applying  a 
bit  more  at  the  center  than  at  the 
outer  corners  of  her  mouth. 


WAYS  and 

MEANS  to 


EAUTY 


Iast  month  I  advised  you 
about  protection  against 
.  sunburn.  Whether 
you  heeded  it  or  not 
I  have  no  way  of  knowing. 

If  you  did  heed  it,  you're  in  luck  now,  at  least  in  better 
luck  than  those  who  threw  caution  to  the  winds  and  let 
Old  Sol  and  the  brisk  winds  do  their  worst.  If  you  didn't 
heed  it,  all  I  can  do  now  is  to  peddle  comfort  and  help 
you  as  best  I  can  to  get  back  to  normal. 

Yes,  I  know  I  advocated  sun-baths;  I  still  do.  But 
there's  such  a  thing  as  getting  too  much  sun,  particularly 
on  the  face  and  hair,  and  especially  if  they  have  not  been 
given  protective  care.  Faces  get  plenty  of  light  and  air; 
in  fact,  most  of  them  get  too  much.  That's  why  we  are 
always  trying  to  put  back  into  skins  the  oils  that  they 
lose  through  exposure.  Sunlight  is  health'giving.  It  makes 
the  body  function  better  and  it  gives  to  the  face  the 
healthy  look  that  is  popular  now  and  is  always  becoming. 
However,  an  overdose  of  sun  defeats  its  purpose.  No  mat- 
ter how  even  and  becoming  a  coat  of  tan  may  be  it  toughens 
the  skin,  makes  it  less  active  in  renewing  itself  as  a  normal 
skin  should,  and  leaves  it  with  a  weather-beaten  tone, 
coarse  in  texture  and  depleted  in  natural  oils. 

Small  wonder  that  at  this  season  the  beauty  specialists 
and  cosmetic  manufacturers  are  complacent  over  the  fact 
that  their  rueful  customers  are  back  from  seashore,  moun- 
tain and  farm  clamoring  for  complexions  that  are  fair 


By 

Anne  Van  Alstyne 


and  fine-textured  again.  Dry, 
sun-tanned  skins  must  be  lubri- 
cated, bleached  and,  if  neces- 
sary, artificially  stimulated  so 
that  they  may  function  more 
freely  and  rapidly.  How  to  get  rid  of  the  once-loved 
but  now  hated  tan  and  look  'pink  and  white'  once  more 
— that  is  the  problem. 

But  before  we  begin  administering  comfort,  come  along, 
girls,  be  frank  and  tell  us  how  we  can  help.  If  you  spent 
your  summer  wisely  and  well,  you're  a  tone  or  two  darker, 
quite  likely,  but  healthily  so.  And  you're  lithe,  slim  and 
bright-eyed  and  full  of  vim  and  vigor.  You  not  only  had 
a  grand  time,  you  look  grand,  too.  Come  on,  speak  up; 
do  you  come  under  this  head? 

Now  let's  line  up  on  the  other  side.  If  you  paid  no 
heed  to  the  ounce  of  cure  I  already  know  the  result:  A 
red-nosed,  flaky-skinned  little  person  whom  one  never 
would  suspect  of  having  rollicked  through  weeks  of  summer 
joys!  Your  face,  instead  of  being  a  romantic  olive  tint,  is 
rough,  red,  and  liberally  besprinkled  with  freckles.  The 
well-defined  V  of  sunburn  on  your  back  and  chest  are 
not  marks  of  distinction.  Your  nose,  that  you  had 
rather  liked  because  it  was  well-shaped,  white  and  without 
blemish  is  now  red  and  freckled  and  you  don't  like  it  a 
bit.  And  you  don't  like  your  new  frown  that's  come 
from  too  much  squinting,  nor  the  lines  about  your  mouth, 
or  your  scraggly-looking  hair,  nor  the  ten  unnecessary 


for    September  1930 


65 


Constructive  Care  of  Skin,  Hair  and  Eyes  to 
Repair  the  Ravages  of  Summer's  Playtime 


pounds  you  have  added  to  your  weight. 

Am  I  right,  and  would  you  like  to  exchange  your 
Weather-beaten  face  for  a  new,  rejuvenated,  early  autumn 
face?  Oh,  well,  cheer  up!  We'll  try  to  give  you  another 
chance.  If  you  didn't  use  the  ounce  of  prevention,  we'll 
just  have  to  scurry  around  and  find  for  you  the  pound  of 
cure. 

Tan  and  sunburn  arise  from  action  of  sunlight  and 
also  of  the  wind.  Some  skins  tan  or  burn  more  readily 
than  others.  Some  never  tan  but  will  burn  red,  while 
others  tan  only.  Sunburn,  if  severe,  will  cause  the  skin 
to  peel  off,  previous  to  which  there  is  a  burning  sensa- 
tion,  the  same  as  is  present  with  any  other  blister.  A 
similar  effect  may  be  produced  by  sitting  too  near  a  hot 
fire,  and  those  who  have  delicate  complexions  should  never 
allow  their  faces  to  become  too  warm  from  artificial  means. 

Freckles  are  another  thing  that  menace  many  a  girl's 
peace  of  mind  as  well  as  her  otherwise  flawless  skin.  The 
poet  may  call  them — "scars  from  the  kisses  that  angels  in 
long  embrace  have  pressed  in  careless  confusion";  but  not 
even  that,  nor  pretty  names  such  as  'Sun  Kisses'  or 
'Kisses  of  Apollo'  can  reconcile  most  girls  to  an  indi- 
vidual  possession  of  these  little  pests. 

Personally,  I  believe  that  a  few  freckles  just  under  the 
eyes  enhance  their  expression;  and  we  know  that  as  a 
rule  freckles  appear  only  on  fair,  -  lovely  skins.  But  that 
doesn't  mean  a  thing  to  the  average  girl.  She  figures  that 
if  her  skin  is  nice  with  freckles,  it  would  be  much  nicer 
without  them  —  and  what 
to  do  is  what  she  wants  to 
know. 

Freckles  are,  perhaps,  the 
most  obstinate  of  all  blem- 
ishes. While  they  may  be 
removed,  they  are  sure  to 
return  again  so  long  as  con- 
ditions remain  the  same. 
By  conditions,  I  mean  iron 
in  the  blood,  strong  light 
and  lack  of  prevention. 
Technically  speaking,  freck- 
les are  caused  by  little  par- 
ticles of  iron  which  find 
their  way  through  the 
drainage  tract  of  the  skin 
and  deposit  themselves  just 
under  the  surface  of  the 
outer  skin.  The  action  of 
strong  light  colors  them  in- 
to the  irregular  discolora- 
tions  called  freckles.  There- 
fore, it  is  reasonable  to  sup- 
pose that  as  long  as  there 
is  iron  in  the  blood  and 
the  sun  shines,  freckles  will 
return  unless  adequate 
preventive  measures  are 
used. 

Iron  in  the  blood  is  a 
necessity  and  sunlight  is  a 
necessity  to  good  health: 
but  sunlight  applied  direcdy 
to  an  unprotected  skin  is 


Jeanette  MacDonald's  mirror  reflects  the  beauty  of 
hair  that  is  well-burnished,  live  and  vital  from  daily 
brushing,   scalp    massage   and   exquisite  cleanliness. 


not  essential  to  health.  Therefore,  if  we  would  avoid 
freckles  and  tan  we  must  protect  the  skin  by  the  use 
of  soothing,  protective  creams,  plentifully  applied. 

No,  I  won't  take  any  more  space  with  'I  told  you  sos.' 
I'll  try  to  tell  you  how,  having  acquired  a  'beautiful'  coat 
of  tan  and  a  'fine'  sprinkling  of  freckles  you  may,  chame- 
leon-like, change  the  color  of  your  skin  to  a  lady- like 
pallor. 

There  have  been  handed  down  to  us  many  homely 
remedies  such  as  buttermilk,  pure  cream,  juice  of  cucum- 
ber and  lemon  juice  for  fading  out  sunburn.  The  first 
two  remedies  may  be  effectual  but  are  messy  to  use.  The 
third  is  good,  but  hard  to  prepare.  Lemon  juice  is  the 
best  home  remedy  and  is  well  recommended  for  the  daily 
bleach  throughout  the  year.  But  for  most  of  us,  it  is 
better  to  use  a  lotion  or  cream  compounded  by  reputable 
chemists  and  sold  by  firms  who  have  done  much  research 
work  and  much  experimenting  before  offering  their  prod- 
ucts for  sale. 

In  removing  either  tan  or  freckles,  there  are  two  pro- 
cesses to  be  considered:  either  a  long,  slow  bleaching  of 
the  skin  with  mild  preparations,  or  the  quicker  method 
with  stronger  preparations  which  cause  a  slight  peeling  of 
the  epidermis  or  outer  skin.  Which  to  use  should  be  de- 
termined by  the  nature  of  the  individual  skin.  As  bleaches 
are  frequently  irritating,  they  should  not  be  used  in  their 
full  strength  on  a  sensitive  skin  and  should  never  be  used 
when  any  inflammatory  condition  exists. 

If  you  are  in  doubt  about 
your  skin,  give  it  this  test 
before  applying  any  bleach- 
ing preparation.  Apply  it 
on  the  skin  of  your  arm 
just  above  the  elbow  before 
retiring  and  allow  it  to  re' 
main  there  all  night.  If, 
after  removing  it,  the  skin 
shows  no  irritation,  the 
chances  are  that  the  cos- 
metic is  not  too  strong  to 
use  on  your  face  and  neck. 
Should  the  skin  show  irri- 
tation, either  mix  the 
bleaching  cream  with  cold 
cream  or  apply  a  thin  film 
of  cream  before  adding  the 
bleach.  Or  you  may  find  it 
satisfactory  to  use  the 
bleach  one  night,  and  on 
alternate  nights  use  a  good 
nourishing  cream. 

This  process  takes  longer, 
but  it  is  better  to  take  more 
time  than  to  run  the  risk 
of  irritating  the  skin  still 
further.  If  in  your  impa- 
tience you  carelessly  ap- 
plied an  undiluted  bleach 
too  strong  for  your  skin 
and  find  it  red  and  irri- 
tated after  the  first  treat- 
ment, cover  the  surface 
(Continued  on  page  114) 


66 


SCREENLAND 


Stunting  to  Stardom 


The  story  of  Hoot  Gibson — 
first  a  'stunt'  man,  then  an 
actor,  now  an  idol 

By  Franklin  James 


IT  is  said  that  when  children  and  dogs  like  a  man  he 
must  be  pretty  much  all  right.  Children,  boys  par- 
ticularly, like  Hoot  Gibson,  and  if  they  have  their 
way  about  it  they  never  miss  a  picture  of  his.  It's  a 
great  asset  to  a  star  to  be  liked  by  children.  It  is  one 
thing  that  has  contributed  to  the  long  continued  popularity 
of  Mary  Pickford,  Douglas  Fairbanks  and  Charlie  Chaplin 
■ — their  ability  to  hold  the  love  and  loyalty  of  young  people; 
and  only  these  three  have  been  stars  as  long  or  longer 
than  Hoot  Gibson. 

Among  Hoot's  loyal  fans  today  are  not  only  thousands 
of  children  but  adults  who  were  children  ten 
years  ago.  Recently  he  had  a  letter  from  a 
man  who  followed  his  pictures  in  1919.  To- 
day, he  has  two  small  sons  and  he  takes  them 
to  see  every  Gibson  picture.  The  speed  and 
dash  of  the  west  appeal  to  all  alike,  men, 
women  and  children. 

All  of  Hoot's  boy  fans  will  be  envious 
when  I  say  that  when  I  went  to  interview 
Gibson  his  first  act  was  to  take  me  by  plane 
three  hundred  miles  north  of  Hollywood 
where  he  flew  every  day  on  location.  And 
after  we  reached  his  location  at  Castle  Rock, 
we  continued  the  interview  on  horseback!  This 
was  a  real  stunt  to  me  but  not  to  be  compared 
to  the  stunts  that  Hoot  told  me  about. 

Small  boys  and  big  boys  and  Hoot's  fol- 
lowers in  general  will  want  to  know  how  he 
happened  to  become  a  stunt  player.  Well, 
briefly,  here  it  is.  In  Tekamah,  Nebraska, 
his  home  town,  he  won  the  title  of  "The 


Best  Cowboy  Stunt  Rider."  After  winning  an  all-cowboy 
championship  at  an  annual  rodeo  in  Pennington  and 
representing  the  United  States  in  the  World's  champion- 
ship riding  events  in  Australia,  he  came  to  Hollywood  with 
a  film  career  in  mind.    And  right  away  he  clicked. 

Because  of  his  daring  he  became  a  stunt  man  and 
doubled  for  stars  who  took  the  bows.  When  millions  of 
fans  throughout  the  world  were  gasping  at  Helen  Holmes' 
nervy  stunts  in  her  railroad  serial  it  was  Hoof  who  actually 
performed  most  of  the  dangerous  deeds  with  which  she 
was  credited. 

One  of  his  most  exciting  feats  took  place  when  he  was 
doubling  for  one  of  these  railroad  thrillers.  The  trick 
was  to  jump  from  the  cow-catcher  of  a  fast  moving  train 
into  the  tonneau  of  an  automobile  that  raced  across  the 
tracks  just  in  front  of  the  engine.  If  he  was  successful, 
he  was  to  be  paid  one  hundred  dollars  extra. 

The  leap  had  to  be  perfectly  timed.  The  first  attempt 
was  a  failure  and  almost  cost  Gibson  his  life.  As  he 
leaped  from  the  train  the  driver  trod  heavily  on  the  gas 
throttle  of  the  automobile  and  Hoot 
landed  on  the  tracks  directly  in  front  of 
the  locomotive.  This  saved  his  life,  for 
when  the  cow-catcher  struck  him  it  only 
rolled  him  to  one  side  and  broke  three 
ribs.  Production  was  discontinued  until 
he  recovered. 

The  second  time  the  stunt  was  at- 
tempted, Hoot    {Continued  on  page  125) 


Hoot  Gibson  courted  Sally  Eilers  in  an  airplane 
interruptions  up  there!  Sally  was  selected  by  Ziegf 
as  the  most  beautiful  brunette  in  Hollywood. 


Above,  Hoot  Gibson  as  his  public 
sees  him — sombrero,  shirt-sleeves, 
everything    except    his  six-shooter. 


Left,  Hoot,  all  dressed  up  and  ready 
to  go.  This  is  how  Edward  Gibson 
(Hoot,  to  you)  looks  in  private  life. 


CLAUDIA  DELL  and  LLOYD  HUGHES  in  AL  JOLSON'S  "BIG  BOY' 


GARBO- 
THAT'S  ALL! 


And  that's  enough  for  most  people.  For 
the  glamourous  Greta  was  never  lovelier 
than  in  "Romance,"  her  new  talking  picture. 


These  rarely  beautiful  portraits  are  the  most 
charming,  in  Screenland's  opinion,  of  the  en- 
tire Garbo  gallery.  She  was  potent  and  ap- 
pealing in  "Anna  Christie."  But  as  the  prima 
donna  heroine  of  "Romance"  she  really  comes 
into  her  own.  It  is  not  as  an  every-day  person 
a?t?  like  to  think  of  Greta.  She  stands  for  the 
soft  of  enchantment  that  comes  all  too  seldom 
in  this  machine  age  of  ours.  In  her  eyes  there 
is  something  of  the  mystery  of  eternal  romance, 
that  transcends  mere  motion  picture  sentimen- 
tality and  sweeps  us  out  of  our  twentieth-cen- 
tury satisfaction.  Garbo  is  as  important  to  us 
Americans  in  her  own  sweet  way  as  Henry  h  ord .' 


THE  freshest  and  most  refreshing  personality 
on  current  screens:  Mr.  Jack  Oakie.  His 
overwhelming  success  in  pictures  has  come  as 
somewhat  of  a  surprise  to  this  natural  young 
man  who  started  in  the  chorus  of  a  Broadway 
musical  comedy.    May  he  never  be  spoiled! 


MAUREEN  O'SULLIVAN,  the  little  Irish 
girl  discovered  bv  Frank  Borzage  for 
"Song  o'  My  Heart,"  the  John  McCormack  pic- 
ture, is  headed  for  stardom.  She  is  learning  to 
sing  and  dance  so  that  she  can  be  the  heroine 
of  a  musical  movie  called     just  Imagine.' 


IS  she  the  most  beautiful  brunette  in  Holly- 
wood? Who?  Why,  Sally  Eilers.  Wait  a 
minute  before  you  make  a  hasty  answer — re- 
minding us  of  the  existence  of  Billie  Dove, 
Estelle  Taylor,  Dolores  Del  Rio,  and  other 
lovely  brunettes.  Sally  received  her  title  from 
no  less  an  authority  than  Florenz  Ziegfeld;  and 
we  think  she  deserves  to  wear  the  crown,  for 
this  caption  at  least — especially  in  view  of  this 
nice  new  picture. 


EVER  since  he  died  so  gracefully  in 
"Alibi,"  his  first  film,  Regis  Toomey 
has  been  in  constant  demand.  Fortun- 
ately he  has  escaped  the  curse  of  being 
'typed'  and  has  been  permitted  to  prove 
his  talents  in  less  fatal  roles. 


Otto  l>V<ir 


CONQUERORS   of    the  CLOUDS 


Perhaps  the  most  unusual  'shots'  of  airplanes  in  the  skies  are 
in  "If ell's  Angels,"  the  long- heralded  and  much  discussed  air- 
war  spectacle.  f'wo  years  in  the  making,  this  production, 
called  the  multi-million  dollar  film,  is  now  released.  If  it 
lives  up  to  one-tenth  of  its  tremendous  advunce  publicity,  it 
will  be  well  worth  seeing. 


FROM  "HELL'S  ANGELS" 


Such  popular  players  as  Hen  I. yon,  James  Hall,  and  Jean 
Harlow  are  featured  in  Howard  Hughes'  picture,  "Hell's 
J  ns;els";  but  the  real  stars  of  the  evening  are  the  airplanes — 
swooping,  soaring,  stuntint;  through  the  skies.  A  drama  of 
the  world  war,  this  film,  which  is  all-talking,  is  one  of  the 
outstanding  cinemas  of  the  season. 


OUn  Dynr 


THE  newest,  and  as  far  as  we  are  concerned, 
the  very  best  portrait  of  the  young  man 
from  Montana,  Gary  Cooper.  He  will  next  be 
seen  on  the  screen  in  "The  Spoilers,"  a  talking 
version  of  the  Rex  Beach  novel  that  was  a 
popular  silent  success  in  the  dear  old  days. 


Hal  Phyfe 


MEET  and  greet  the  latest  lovely  newcomer, 
Miss  Claire  Luce.  A  dancing  sensation 
in  Ziegfeld's  Follies,  a  dramatic  smash  in  the 
stage  play,  "Scarlet  Pages,"  Claire,  a  big-eyed, 
ravishing  blonde,  will  act,  sing,  dance,  and 
look  in  several  forthcoming  new  Movietones. 


AT  HOME  AND  HAPPY 

Billie  Dove  has  moved  into  a  new  house.  She  asked 
Sckeknlani)  to  drop  in  and  we  lost  no  time  accepting  the 
invitation.  Here's  the  Dove  in  her  cosy  cote — which  hap- 
pens also  to  be  one  of  the  handsomest  homes  in  the  picture 
colony  Billie,  being  different,  prefers  collecting  Scotties 
of  ancient  lineage  to  amassing  antique  furniture.  Her  par- 
ticular pet,  with  sweet  tooth,  is  posing  in  the  picture  below. 


Elmer  Frye 


A 
BUSY 
BROOK 


Not  Tennyson's,  but  Paramount' s ; 
and  proud  of  him  they  are,  too. 
Clive  Brook  plays  at  the  studio  in 
talkies;  then  he  races  right  home 
and  plays  some  more — tennis,  on 
his  court,  with  such  partners  as 
Ronald  Colman,  Ernest  Torrence, 
John  l.oder.  Between  times  he 
collects  old  pewter;  and  you'll  see 
some  of  the  best  pieces  in  the  pic- 
ture at  the  right.  Brook's  latest 
screen  offering  is  "The  Better 
Wife,"  with    Ruth  Chutterton. 


mm 

Russell  Ball 


There  are  many  beautiful 
women  and  good  actresses  in 
Hollywood ;  but  in  the  whole 
history  of  the  movies  there 
have  been  few  endowed  with 
Constance  Bennett's  devastat- 
ing charm.  There  may  be 
more  glamourous  girls  and 
more  gifted  actresses  —  and 
there's  always  Garbo;  but 
somehow  it's  hard  to  concen 
trate  on  the  others  when 
Connie  looks  at  you  with 
those  big,  blue  eyes! 


Kay  Francis  started  out  in 
(screen)  life  as  a  siren.  But 
since  audiences  are  becoming 
better  acquainted  with  this 
gracious  girl  from  Broadway 
they  have  been  making  a 
heroine  of  her.  Result:  she's 
good  and  sweet  in  "Raffles," 
opposite  Ronald  Colman ;  and 
is  in  demand  in  other  per' 
fectly  proper  roles.  Being 
Kay  Francis,  she  contrives  to 
make  any  old  part  seem 
interesting. 


England's  leader  in  Beauty  Culture 


Mme.  Bertha  Jacobson 

warns  "against  harsh  effects  of  soaps 
not  made  of  olive  and  palm  oils" 


'  Other  soaps  may  irritate  the  skin  : 
may  cause  coarse  pores  and  an 
unpleasant  feeling  of  roughness. 
Palrnolive  is  refreshing. pure, safe." 

Maison  de  Beaute  Pompadour,  Ltd. 
11/12  Dover  Street,  London,  W.  1 


Entrance  to  Madame 
]acobson'\S  Mayfair 
salon,  where  the  smart- 
est women  of  London 
consult  this  expert. 


w 


HEN  women  come 
for  advice  on  the 


to  me 
care  of 

the   skin,"   says   Madame  Bertha 
[acobson,  of  London,  "I  always  im- 
press on  them  the  need  for  soap  and 
water,  as  cleanliness  of  the  skin  is 
the  first  step  to  beauty." 

"But."  Madame  Jacobson  goes  on  to 
say.  1  warn  against  the  harsh  effects  of 
soaps  not  made  exclusively  of  olive  and 
palm  oils 

Dangers  to  skin  beauty 

The  skin  secretes  oils;  the  day's 
make-up.  face  creams,  dirt,  clog  the  tiny 
pores.  Unless  these  accumulations  are 
safely  and  gently  removed,  blackheads 
and  other  blemishes  soon  appear.  And 


Madame  Bertha  Jacobson.  herself,  adminis- 
tering to  a  client  in  her  Ma)  fair  beauty  talon. 

the  delicate  lather  of  Palrnolive  is  the 
chosen  method  for  keeping  skin  free  of 
these  blemishes  . .  .  the  preferred  method 
of  more  than  23,720  experts. 

Botli  as  a  teacher  and  beauty  specialist 
Madame  Jacobson  is  deferred  to  by  mem- 
bers of  her  profession.  And  among  Lon- 
don society  women,  her  superiority  as  a 
beauty  specialist  is  unquestioned.  , 

When  Madame  Jacobson 
urges  the  daily  use  of  Palrnolive 


A  comer  of  the  quaint  Victorian  waiting 
room  in  Madantt  Jacobs  on' s  London  salon. 

that  recommendation  carries  the  weight 

of  authority. 

This  treatment,  night  and  momtng 

Make  a  creamy  lather  of  Palrnolive 
Soap  and  warm  water.  With  both  hands 
massage  this  well  into  the  skin  two 
minutes,  allowing  it  to  penetrate  the 
pores.  Then  rinse,  first  with  warm 
water,  gradually  with  colder. 

To  get  the  full  benefit  of  salon  treat  - 
ments,  you  should  co-operate  with  your 
beauty  specialist  by  using  Palmolive 
Soap  twice  a  day.  By  beginning  tomor- 
row you  will  hasten  the-  return  of  natu- 
ral loveliness. 

Since  Palrnolive  costs  so  little,  why 
not  enjoy  it  for  the  bath  as  well  as  th< 
face?    Millions  already 
^  ^  do.  in  48  countries  the 

world  over. 


PAIMOLIVE  RADIO  HOUR—  Broadcast  every  Wednesday  night  from  9:  ?0  to  10:30  p.m.,  Eastern 
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Coast  tirne— over  station  VCEAF  arid  39  nations  associated  with  The  National  Broadcasting  Company 


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for    September  1930 

PRIMA 
DONNA 

Bernice  Claire  has  all  the 
assets  but  none  of  the  liabiH- 
ties  of  the  diva.  No  tempera- 
ment for  her! 

By  Allen  Erwm 

WE  know  exactly  how  young  prima  donnas 
should  act.  You  can't  tell  us.  We  delved 
into  the  not-so-private  lives  of  countless 
divas  in  search  of  a  parallel  to  our  subject. 

We  know. 

Young  ladies  who  aspire  to  be  great  Carmens,  great 
Toscas,  great  Delilahs,  or  even  great  Rose'Maries  should 
be  very  arty.  Oh,  very,  very,  arty.  They  should  drop 
much  small  talk  about  the  bel  canto  method,  discuss  the 
future  of  opera  as  an  art  form,  and  ask  did  you  hear 
how  Mme.  Calla-Wurchi  cracked  on  that  high  note  in  the 
second  act. 

A  grand  manner  is  invaluable  but,  of  course,  one  grows 
grander  as  one  grows  older.  Love  affairs,  as  many  as  can 
be  managed  and  preferably  with  young  artists  or  authors, 
are  recommended;  but  if  they  can't  be  managed  they  can 
be  invented  and  properly  publicized  later  on. 

The  young  lady  who  still  wants  to  be  a  prima  donna 
can  follow  this  procedure  or  else  she  can  be  very  simple 
and  pretend  to  know  nothing  at  all. 

There  are  people  in  Hollywood  who  have  wondered  if 
Bernice  Claire,  she  who  twinkled  so  brightly  in  "Spring 
Is  Here,"  "Song  of  the  Flame,"  and  "Toast  of  the  Legion," 
doesn't  belong  in  the  ranks  of  the  studiously  naive. 

But  Baby  Claire  is  neither  studious  nor  naive.  One 
looks  in  vain  for  a  heading  under  which  she  can  be  classi' 
fied  but  one  winds  up  by  shrugging  one's  shoulders  and 
blaming  it  on  the  talkies.  These  audibles  are  responsible 
for  the  cinema  presence  of  several  artists  who  grab  off  all 
the  plum  roles  but  who  fit  no  place  in  particular.  To 
complicate  matters  more,  little  Claire  doesn't  even  want 
to  fit. 

Does  she  long  to  be  starred  in  the  great  screen  opera? 
Is  she  living  and  hoping  for  the  day  when  people  will 
flock  to  theaters  to  hear  LaClaire  and  proclaim  her  the 
world's  greatest  prima  donna?  She  does  not,  and  she  is 
not.  She  wants  only  to  be  allowed  to  indulge  in  the 
delightful  old  American  custom  of  making  a  lot  of  money. 

Little  Claire  has  both  feet  firmly  planted  upon  the 
ground  and  knows  how  to  take  things  for  what  they  are 
worth.  It  might  well  be  explained  here  that  Little  and 
Baby  are  not  terms  of  endearment.  It's  simply  hard  to 
think  of  any  name  that  becomes  her  so  badly  as  does 
Bernice.  And  she  always  impresses  one  as  diminutive 
and  precocious. 


A  close-up  of  Bernice  Claire,  the  song 
and  dance  girl  of  the  talking  screen. 


She  was  born  and  reared  in  Oakland,  California,  and 
became  thoroughly  saturated  with  middle-class  respect- 
ability. When  she  went  to  New  York  to  join  that  city's 
vast  army  of  music  students  she  was  thrown  in  contact 
with  the  Bohemians  of  Greenwich  Village.  In  Holly- 
wood she  jumped  right  into  talking  picture  prima  donna 
roles  and  with  hardly  a  year's  professional  experience  be- 
came a  prominent  and  high-salaried  movie  personage.  She 
has  learned  something  from  each  of  these  episodes  with 
the  result  that  she  smacks  of  neither  middle-class  respect- 
ability, Greenwich  Village,  nor  Hollywood. 

Her  full  name  is  Bernice  Claire  Jahnigan,  she  having 
for  obvious  reasons  chosen  only     (Continued  on  page  127) 


84 


SCREENLAND 


Reviews 


Rear-Admiral  Byrd  in  "With  Byrd  at  the  South  Pole' 
is  the  screen  hero  of  the  month. 


Ronald  Colman  and  Kay  Francis,  his  leading  lady, 
and  some  of  the  cast  in  "Raffles." 


With  Byrd  at  the  South  Pole 


THIS  is  required!  Miss  your  favorite  star  in  her  latest 
effusion  if  you  must,  but  don't  fail  to  see  this  film.  It's 
as  essential  to  your  well-being  as  your  morning  paper 
and  breakfast  food.  Our  thanks  to  Paramount  for  their 
imagination  in  sending  two  great  cameramen,  Joseph  Rucker 
and  Willard  Vander  Veer,  into  the  Antarctic  with  Byrd.  They 
brought  back  a  thrilling,  intimate,  and  pictorially  impressive 
record  of  a  great  expedition.  It  might  have  been  just  another 
'travel  picture'  or  newsreel.  Actually,  it's  an  absorbing  enter- 
tainment, with  Byrd  as  the  handsome  hero;  with  pathos  by 
an  old  'husky';  with  comedy  by  the  penguins,  those  solemn 
feathered  fellows  who  look  like  something  out  of  "Alice  in 
Wonderland";  by  Igloo,  Byrd's  smart  little  fox  terrier;  and  a 
baby  seal — may  he  never  meet  a  furrier.  Human,  humorous — 
yet  throughout  a  feeling  of  the  importance  of  the  achievement, 
the  animation  of  a  lofty  purpose.  If  anyone  asks  you  to  fly 
with  Byrd  over  the  South  Pole  at  your  pet  theater,  you  go! 


Raffles 


ANEW  Ronald  Colman  picture  is  always  a  bit  of  an 
event  in  screen  circles.  You  go  because  you  want  to 
see  Colman  again,  and  if  his  vehicle  happens  not  to 
"turn  out  to  be  another  "Bulldog  Drummond"  you 
may  be  conscious  of  a  vague  dissatisfaction  on  your  way  out 
of  the  theater;  but  you  won't  demand  a  refund,  because  after 
all,  you  came  to  see  Colman.  His  picture  doesn't  matter  so 
much.  This  thoroughly  charming  Englishman  is  so  genuinely 
gallant  that  his  very  presence  on  the  screen  is  a  subtle  com- 
pliment to  his  audience.  He  doesn't  seem  to  be  acting,  you 
see;  he  is  just  whiling  away  a  pleasant  evening  among  friends. 
The  flatterer!  As  Raffles,  the  gentleman  crook  and  cricketeer, 
whose  'last  job'  is  the  one  that  puts  him  into  uncomfortably 
close  proximity  to  Inspector  MacKenzie  of  Scotland  Yard,  Col- 
man can  only  be  charming,  and  that's  so  easy.  Kay  Francis 
is  enchanting.  Alison  Skipworth  is  delightful  as  a  distressed 
Duchess    with    an    understandable    penchant    for   Mr.  Raffles. 


The  Social  Lion 


Skeet  Gallagher,  Jack  Oakie,  and  Mary  Brian  in 
"The  Social  Lion,"  new  Oakie  comedy. 


JACK  OAKIE  earns  the  Honor  Page  for  this  one  but  he 
didn't  get  it.  I'm  sorry,  Jack.  Last  time  you  surely  de- 
served it  for  your  great  work  in  "Hit  the  Deck"  but 
Greta  Garbo  came  along  in  "Anna  Christie"  at  the  last 
moment  and  stole  it  from  you.  This  month  you  were  all  set 
for  it  when  Rear-Admiral  Richard  Evelyn  Byrd  came  back 
from  the  South  Pole  and  what  happened?  Why,  he  settled 
on  Screenland's  Honor  Page.  All  I  can  say  is,  Jack,  if  you 
keep  up  the  good  work  you'll  get  it  sooner  or  later.  Oakie's 
first  starring  film  proves  this  new  comedy  sensation  is  no 
accident.  He's  a  real  star,  here  to  stay.  There's  an  infectious 
quality  in  the  Oakie  personailty  or  technique  or  whatever  it 
is  that  removes  any  possible  resentment.  He's  a  show-off  who 
wins  your  sympathy.  Prize-fighting  and  polo  playing  afford 
Jack  every  opportunity  in  "The  Social  Lion"  to  indulge  his 
humors.  Skeet  Gallagher  is  a  foil  who  is  really  a  help;  while 
Mary  Brian  and  Olive  Borden  are  the  beauty  spots. 


for    September    19  3  0 


85 


Best  Pictures 


Screenland's  Critic  Selects 
The  Six  Most  Important 
Films  of  the  Month 


SEAL- OF)  | 


The  Big  House 


WITH  none  of  the  customary  motion  picture  props 
such  as  ballets,  theme  songs,  and  lovely  ladies, 
this  picture  manages  to  be  a  very  special  produc- 
tion. You  should  see  it.  It  just  misses  being  a 
'human  document.'  Notably  lacking  in  white-wash  and  movie 
sentimentality,  it  still  fails  to  attain  epic  proportions.  At  that, 
it's  an  achievement,  considering  the  censorship  under  which  the 
screen  is  ever  writhing.  There  is  some  propaganda  for  better 
prison  conditions  but  swiftly  the  story  sweeps  on — action,  and 
yet  more  action.  Tense  moments,  a  touch  of  romance — and 
three  powerful  characterizations,  contributed  by  Wallace  Beery, 
Chester  Morris,  and  Robert  Montgomery.  "The  Big  House" 
is  memorable  for  several  scenes:  one  in  the  prisoners'  dining 
hall,  when  Beery  loses  his  temper;  another  when  Morris,  trying 
to  go  straight,  is  caught  again;  and  still  another  with  Mont- 
gomery, as  the  kid  with  a  streak  of  yellow,  in  the  convicts' 
riot.    Strong  stuff.    Splendid  direction  and  acting. 


Holiday 


HERE  is  another  adult  and  important  picture  by  Pathe. 
This  company,  pioneering  in  sophisticated  fields,  had 
the  courage  to  present  "Paris  Bound"  and  "The  Awful 
Truth,"  and  now  it  offers  the  screen  version,  almost 
a  literal  translation,  of  the  Philip  Barry  stage  play,  "Holiday." 
There's  nothing  of  the  old-fashioned  juvenile  movie  about  it. 
The  dialogue  is  intact,  as  I  remember  the  original;  the  cast 
is  just  as  well-mannered  as  in  the  New  York  'legitimate'  pro- 
duction; and  the  direction  of  E.  H.  Griffith  is  urbane  and  intel- 
ligent. "Holiday"  concerns  itself  with  reactions  rather  than 
actions.  Dependent  upon  its  dialogue,  it's  one  of  the  'new' 
pictures.  But  the  cast,  headed  by  Ann  Harding,  will  reconcile 
even  the  most  rabid  reactionaries.  For  Ann,  though  a  most 
modern  heroine,  is  still  very  good  to  look  at.  True,  her  pungent 
dialogue  removes  her  forever  from  the  poetic  princess  pedestal 
of  conventional  screen  ladies;  but  she  is  warmly,  winsomely 
human.    You'll  approve.     Especially  of  Ann  Harding. 


So  This  Is  London 


WILL  ROGERS!  When  you've  said  that  you've  said 
everything  about  this  picture;  and  you  can  take  it 
or  leave  it.  You'll  take  it  whether  you  happen 
to  be  addicted  to  Will  or  not,  if  you  prize  an 
evening's  entertainment  of  the  good,  old,  simple  school.  There's 
nothing  smart  or  subtle  about  "So  This  is  London."  It  has 
more  of  the  flavor  of  Claremore,  Oklahoma,  than  of  Beverly 
Hills,  Cal.;  but  that  only  proves  that  Will  Rogers  is  deservedly 
the  People's  Comedy  Choice;  as  long  as  he  sticks  to  his  homely 
line  he  will  never  lack  an  audience.  I  think  you  will  find 
his  new  Movietone  refreshingly  sincere  and  human.  Through 
it  all  is  the  Rogers  brand  of  drollery,  as  the  star,  in  his 
role  of  a  skeptical  American  in  London,  encounters  the  aristo- 
cratic Briton  on  his  native  heath,  and  discovers  his  only  son 
in  love  with  an  English  girl,  played  by  the  lovely  little  Maureen 
O'Sullivan  from  Dublin,  Ireland.  Irene  Rich,  Frank  Albertson, 
and  Lumsden  Hare  contribute  considerably  to  the  entertainment. 
But  it  is  mostly  Mr.  Rogers'  own  little  show. 


Robert  Montgomery,  Chester  Morris,  and  Wallace 
Beery  head  the  cast  of  "The  Big  House." 


"Holiday,"  which  stars  Ann  Harding,  has  one  of 
the  finest  casts  of  the  screen  season. 


Will  Rogers,  with  Irene  Rich  and  Lumsden  Hare, 
in  a  scene  from  "So  This  is  London." 


86 

Critical 


A  Lady  of  Scandal 

All  the  scandal  is  in  the  title  of  this  screen  version  of  the 
Lonsdale  play,  "The  High  Road."  Ruth  Chatterton  as  an 
actress  beloved  by  the  scion  of  an  aristocratic  family  is  a 
little  lady  even  though  besieged  by  Basil  Rathbone  and  Ralph 
Forbes.    Splendid  acting  by  everybody.    Nice,  if  not  exciting. 


Safety  in  Numbers 

Buddy  Rogers  'chaperoned'  by  three  chorus  beauties,  Josephine 
Dunn,  Kathryn  Crawford,  and  Carol  Lombard,  doing  their  best 
to  belie  the  title  of  this  merry  romance.  Young  Man  You 
Appeal  to  Me  is  the  theme  song,  sung  by  Josephine;  you  may 
agree  when  Buddy  sings,  dances,  and  toots  his  sax.  Young 
and  refreshing.    It's  nice  to  see  lovely  Miss  Dunn  again. 


Dangerous  Nan  McGrew 

Helen  Kane  is  more  than  a  mere  Boop-a-doop  girl;  she's  a 
really  gifted  comedienne.  But  she  has  no  chance  to  prove  it 
here.  She  struggles  valiantly  in  this  stilted  burlesque  and 
wrings  a  few  hard-won  laughs  from  the  creaky  scenes.  Stuart 
Erwin  helps  her.     Give  them  another  chance! 


SCREENLAND 

Comment 


Caught  Short 

Suggested  by  Eddie  Cantor's  book,  this  film  is  a  riot,  with 
Marie  Dressier  and  Polly  Moran,  pals  and  speculators,  funnier 
than  ever,  which  means  you'll  laugh  harder  than  you've  had 
an  excuse  for  since  the  last  Chaplin  comedy.  Anita  Page 
and  Charles  Morton  supply  the  young  love  interest.    A  howl! 


In  Gay  Madrid 

If  you  like  Ramon  Novarro  you  may  enjoy  his  latest,  but 
you'll  have  to  like  Ramon  a  lot;  for  he  has  been  handed 
a  weak  story.  Locale,  Spain;  love  appeal,  Dorothy  Jordan; 
menace,  Lottice  Howell.  Novarro  is  as  picturesque  as  usual, 
and  Dorothy  just  as  sweet;  but  it's  not  another  "Devil  May 
Care."     Better  luck  next  time,  Ramon. 


Born  Reckless 

Just  another  case  of  a  clever  star  working  over-time.  Ed- 
mund Lowe  plays  a  gangster-bootlegger  with  his  customary 
craftsmanship;  but  interest  in  his  activities  lags  long  before 
the  finale.  Gangster  doings  seem  to  be  losing  their  novelty. 
Can  it  be  the  bad  boys  aren't  so  heroic,  after  all? 


/ 


for    September  1930 

on 


87 


Current  Films 


The  Florodora  Girl 

Not  to  be  missed.  Marion  Davies  as  the  shy  sweet  member 
of  the  historic  Florodora  Sextette  leads  the  laughter  in  this 
clever  burlesque  of  a  Gay  Nineties  melodrama,  with  Larry 
Gray  as  a  brisk  young  blade,  Sam  Hardy  as  a  deep-dyed  villain, 
and  Ilka  Chase  as  a  gold-digger.  Marion  is  delectable — and  funny. 


Radio  Kisses 

Mack  Sennett  has  inaugurated  color  in  his  comedies — nice 
color,  too.  This  new  'feature  short'  boasts  a  radio  background, 
theme  song,  and  bathing-girl  sequence — Sennett  could  find  an 
excuse  for  bathing-girl  scenes  in  a  South  Pole  epic.  Marjorie 
Beebe  and  George  Duryea  provide  the  romance. 


Shadow  of  the  Law 

A  good  picture,  and  a  splendid  chance  for  William  Powell 
to  establish  himself  as  an  all-round  appealing  actor.  This 
'villain'  who  turned  hero  is  one  of  the  most  charming  char- 
acters on  the  screen.  As  a  gentleman  convict  who  later  squares 
himself  with  society  Mr.  Powell  scores  heavily  and  deservedly. 


Numbered  Men 

Not  to  be  compared  with  "The  Big  House."  Sugared  picture 
of  prison  life,  with  lots  of  comedy  and  love.  Ralph  Ince  as 
the  riot-leader  gives  a  good  performance.  Conrad  Nagel,  Ray- 
mond Hackett,  and  Bernice  Claire  assist.  Unreal  and  uncon- 
vincing— but  it's   cleaning  up.     What's   the  answer? 


She's  My  Weakness 

Sue  Carol  and  Arthur  Lake  make  a  grand  team  in  this 
talker  version  of  "Tommy."  The  whole  family  will  enjoy  their 
adolescent  romance,  tempered  with  the  comedy  interference 
of  Lucien  Littlefield  and  Helen  Ware.  William  Collier,  Sr., 
adds  his  share.    Light,  gay,  and  guaranteed  100%  wholesome. 


Not  Damaged 

Chalk  up  personal  triumphs  for  Lois  Moran  and  Walter 
Byron.  Lois  as  an  adventurous  shop  girl,  Walter  as  a  'phil- 
anderer' turn  in  excellent  performances.  The  good-looking 
Byron's  come-back  as  a  talker  hero  will  interest  everybody. 
Modern   love  with   a   good   old-fashioned   sentimental  ending! 


88 


SCREENLAND 


On 
Location 


A  location  trip  is  even  more  fun 
than  usual  when  Bob  Montgomery 
and  Dorothy  Jordan  are  the  players 

By 

Helen  Ludlam 


with  Robert  Montgomery 


The  locale  for  the  "Like  Kelly  Can"  location  didn't 
mean  a  thing  to  me.  I  had  never  even  heard  of  the 
Lake  Norconian  Club,  and  when  I  saw  it  I  won- 
dered why  so  few  people  knew  of  this  very  beau- 
tiful  and  restful  spot. 

I  groaned  when  I  heard  it  was  a  swanky,  dressed-up 
place.  "Thirty  dollars  a  day,  my  dear!"  I  was  told  when 
I  asked  what  sort  of  clothes  I  would  need  on  the  trip! 
"Thirty  dollars  a  day  doesn't  tell  me  a  thing,"  I  swanked. 
"Gary  Cooper  charges  that  and  twice  that  much  at  his 
dude  ranch  in  Montana,  and  you  don't  wear  diamond 
dresses  up  there."  But  as  it  turned  out  we  might  have 
worn  anything  at  all  because,  being  an  off  season,  the 
only  ones  there,  with  the  exception  of  perhaps  a  do2;en  peo- 
ple, belonged  to  the  Metro-Goldwyn-Mayer  troupe.  Just 
think  what  fun!  That  enormous  place  with  one  hundred  and 
twenty-nine  rooms,  elaborate  lounging  rooms,  an  immense 
ball-room,  mineral  baths, 
two  swimming  pools,  a 
private  lake  with  a  casino, 
lovely  bridle  paths  and 
an  eighteen  -  hole  golf 
course  turned  over  to 
about  fifty  people  all  of 
whom  were  in  your  own 
party! 

And  girls,  who  do  you 
suppose  played  the  hero? 
Robert  Montgomery!  The 
Bobby  Montgomery  who 
was  unknown  to  pictures 
a  year  ago  and  whom  no 
one  took  very  seriously 
at  first,  but  now  just  look 
at  him!  Every  girl  on  the 
Metro  lot  hopes  he  will 
be  in  her  picture.  He's 
just  a  natural  heart- 
breaker.  It  happened  that 
I  had  not  met  him  until 
this  location  but  Bob  is 
a  person  whom  it  takes 
about  five  minutes  to 
know  and  like  very  much. 

Dorothy  Jordan  plays 
the  girl  of  his  heart,  while 
Dorothy  McNulty  and 
Benny  Rubin  supply  the 
comedy;  and  there  are 
several   other  interesting 


Our  Location  Lady  and  Robert  Montgomery  are  talking 
it  over  with  Henry  Sharp,  chief  cameraman  of  "Like 
Kelly  Can."   (That's  the  name  of  the  picture!) 


people  such  as  J.  C.  Nugent,  Tyrrell  Davis,  Harry  Burnes 
and  Allan  Lane.  Charles  (Chuck)  Reisner  was  the 
director. 

We  arrived  just  at  sundown  and  Bob  and  the  two 
Dorothys  with  the  rest  of  the  gang  were  emerging  from 
the  lake  where  they  had  had  a  dip  and  a  spin  on  the 
surf  board.  "Want  to  ride  on  it?  I'll  take  you  tomorrow 
after  we  knock  off  work,"  Bob  offered  enthusiastically. 

The  first  thing  we  had  to  do  was  look  at  some  newly 
arrived  photographs  of  Benny  Rubin's  baby,  and  it  is  no 
wonder  he  wanted  to  show  his  daughter  off.  With  all 
the  adorable  infants  ever  coined  Miss  Rubin  could  hold 
her  own.  After  admiring  her  until  I  thought  Benny  was 
going  to  burst  with  pride  we  gave  the  actors  a  chance 
to  get  their  make-up  off  and  dress  for  dinner.  That 
doesn't  mean  that  they  'dressed'  for  dinner.  Sports  clothes 
were  the  rule  there  with  the  troupe.  We  hurried  through 

the  meal,  too,  because  the 
foursome,  Bob  and  Doro- 
thy Jordan,  Benny  and 
Dorothy  McNulty,  had  to 
rehearse  their  songs.  They 
pranced  around  and  had  a 
lot  of  fun  and  we  on  the 
sidelines  were  kept  in  an 
uproar  by  the  wisecracks 
of  Benny  Rubin. 

After  about  an  hour's 
rehearsal  we  went  to  the 
lobby  and  watched  a 
spirited  game  of  mechan- 
ical golf.  The  addiction 
of  the  company  to  the 
fascinating  game  was  the 
only  thing  that  caused  the 
management  any  worry. 
"They'll  wear  it  out," 
one  of  the  clerks  com- 
plained anxiously.  "What 
of  it?"  chirped  Benny 
Rubin,  "just  look  at  all 
the  nickels  you  are  getting. 
You  can  buy  two  new 
ones  and  still  have  some- 
thing left  over."  For 
each  time  anyone  played 
they  had  to  put  a  nickle 
in  the  slot  which  entitled 
you  to  thirty  chances  to 
finish  the  course.  Bob, 


for    September  1930 


S9 


Doing  that  thing!  Dorothy  Jor- 
dan leads  the  dance  ensemble 
in  this  scene  from  "Like  Kelly 
Can,"  a  fresh  and  youthful  film 
directed  by  Charles  F.  ( Chuck) 
Reisner. 


Benny  and  Allan  Lane  played 
a  threesome  which  lasted 
nearly  two  hours.  Bob  actu- 
ally brought  tears  to  Benny's 
eyes  when  he  got  around  in 
five  strokes.  Benny  himself 
had  made  it  in  six  that  time, 
the  lowest  score  he  had  ever 
had.  There  is  always  laughter 
where  Benny  is.  He  keeps 
up  a  running  fire  of  patter 
that  keeps  everyone  practically 
in  hysterics.  My  jaws  hurt 
for  three  days  afterwards,  I 
laughed  so  much! 

Bob  Montgomery's  efficiency 
in  getting  quickly  around  the 
course  wasn't  all  luck,  we  dis- 

covered.  He  had  studied  out  a  system  and  manipulated 
the  lever  so  that  the  little  mechanical  man  in  the  red 
sweater  knocked  them  home  almost  every  time.  Once 
he  had  difficulty  and  was  still  on  the  last  stretch  at  fif- 
teen strokes.  "Take  your  time,"  urged  Benny,  "I've  al- 
ready used  up  twenty.    It  may  take  me  nine  to  get  out." 

When  the  second  round  began  some  of  us  went  for  a 
ride  with  Bill  Clark,  the  lucky  son  of  the  founder  and 
owner  of  the  Lake  Norconian  Club.  Bill  took  us  for  a 
spin  to  Corona,  the  nearest  town,  for  an  ice  cream  soda 
but  we  were  so  frozen  when  we  got  there  that  we  scouted 
around  for  a  lunch  counter  and  a  cup  of  coffee.  The 
lunch  counter  was  the  only  thing  open  in  this  little  town 
where  night  life  stops  at  nine-thirty,  and  this  was  ten 
o'clock. 

We  thought  it  would  be  such  fun  to  be  the  son  of  a 
hotel  owner.  "Just  think  of  coming  home  late  and  hun- 
gry and  having  that  ice-box  to  explore!"  But  very  wisely 
Bill  didn't  offer  to  demonstrate  what  a  thrill  that  would 
be.  A  moving  picture  troupe  in  a  hotel  ice-box  would 
be  sufficient  cause  for  any  cook  to  throw  up  his  job  the 
next  morning. 

When  we  got  home  everyone  had  gone  to  bed  and 
we  tiptoed  to  our  rooms  so  as  not  to  awaken  them. 
Dorothy  McNulty  was  in  the  room  next  to  mine  and  it 
opened  on  to  the  same  little  balcony  from  which  we  could 


see  the  lake,  part  of  the  golf  course  and  mile  upon  mile 
of  lovely  rolling  country.  Next  morning  she  came  barging 
in  to  get  us  up  for  a  swim  before  breakfast. 

Dorothy  McNulty  has  the  cutest  freckles  on  her  arms 
and  back  that  I  ever  saw.  She  says  they  are  terrible  and 
makes  them  up  so  they  won't  show  on  the  screen.  She 
has  a  few  little  fellows  scattered  over  the  bridge  of  her 
nose  and  her  cheeks  which  she  doesn't  mind  so  much. 
"They  look  healthy,"  she  laughed.  "But  I'd  just  as  soon 
my  back  and  arms  wouldn't  advertise  the  fact." 

Dorothy  is  a  great  admirer  of  all  the  great  actresses  of 
the  stage:  Duse,  Bernhardt,  Ellen  Terry,  Julia  Marlowe, 
and  longs  to  do  something  worth-while  herself.  "'How  old 
were  they  when  they  were  in  their  prime?"  she  asked 
wistfully. 

"When  they  were  your  age  they  hadn't  cut  the  dash 
in  their  profession  that  you  have,"  I  told  her.  "Duse 
played  Juliet  when  she  was  just  Juliet's  age,  fourteen, 
and  it  is  said  that  she  gave  a      (Continued  on  page  124) 


Above,  the  beautiful  and  restful  spot  where  the 
outdoor  scenes  for  "Like  Kelly  Can"  were  filmed 
— the  Lake  Norconian  Club  in  California. 


Left,  Bob  Montgomery,  Dorothy  McNulty,  Dor- 
othy Jordan  and  Helen   Ludlam   of  Screenland 
between  scenes  on  location. 


90 


SCREENLAND 


tfl 


"Lysistrata"  is  the  current  sensation  in  Manhattan.    Adopted  by  Gilbert  Seldes 
from  an  Aristophanes  comedy,  it  is  brilliantly  produced  and  acted.    In  this 
scene  you  see  Violet  Kemble  Cooper  and  Miriam  Hopkins. 


"Lysistrata" 

A  FTER  twenty-three  hundred 

/\  years  gay-boy  Aristo- 
/  ^  phanes  showed  up  on 
Broadway  in  his  glad- 
dest, baddest,  wildest,  bawdiest 
comedy,.  "Lysistrata"  —  merely  to 
show  us  that  we  are  the  same  old 
human  beings,  doing  business  at 
the  same  old  libido  pie-counter, 
full  of,  overflowing  and  chasing 
the  old  It. 

What  makes  "Lysistrata"  such 
a  howling  success  is  the  way  it 
oozes  boisterousness,  health,  sanity, 
pure  belly-laughter.  It  pours  out 
rough,  strong,  sound  human  na- 
ture— without  any  of  those  putrid, 
over- conscious,  hot-house  dramatic 
sex-stenches  born  of  the  modern 
ingrown  imagination. 

"Lysistrata,"  as  all  America 
probably  knows  by  this  time,  tells 
the  story  of  the  sex-strike  of  the 
women  of  Athens,  headed  by  the 
Pankhurst  of  her  time,  Lady  Lysis' 
trata.  This  strike  was  to  compel 
the  men  to  lay  off  making  wars 
and  so  remaining  away  from  home 
so  dong  that  the  girls  and  wives 
were  driven  noodle-nutty. 

Well,  did  the  gals  win  out! 
Watch  the  goings  on  on  the  stage 
of  the  Forty-fourth  Street  Theater 
when  the  Johnnies  Come  March- 
ing Home  and  the  connubial  doors 
are  closed  on  them! 

Ernest  Truex  j  leads  the  hefty 
boys  out  for  their  marital  rights; 
and  Truex  is,  to'  me,  in  his  part* 
the  soul  of  Aristophanic  slapstick 
hot-dog  comedy.  He  is  a  scream, 
an  uproar,  a  riot  in  his  pursuit 
of  his  legal  It. 

Violet  Kemble  Cooper  is  too 
classic  in  the  role  of  Lysistrata. 
She  doesn't  whip  the  comedy  out 
of  it  ("Lysistrata"  should  be 
played  almost  to  Mack  Sennett 
tempo).  Sydney  Greenstreet  as 
the  purblind,  stumbling,  idiotic 
President  of  the  Senate  of  Athens 
was  good.  And  there  was  Miriam 
Hopkins  as  Kaloni\a — great  Jupi- 
ter! Miriam  would  stop  any  war! 
She  was  exquisitely  seductive.  The 


for    September  1930 


91 


VIEW 


play  was  gorgeously 
mounted  by  the  Phila- 
delphia Theater  Asso- 
ciation. The  version 
was  by  Gilbert  Seldes. 
Some  day  we  shall 
see,  I  hope,  the  Maur- 
ice  Donnay  version 
that  Rejane  did. 

Do  not  miss  this 
great  slapstick  satire. 

"Artists  and 
Models" 


You'll  find  these  pungent  comments  on 
the  current  plays  of  interest  no  matter  where 
you  live.  If  you  don't  see  the  shows  on  their 
native  Broadway,  you  may  see  them  later  in 
their  screen  versions.  And  you'll  enjoy  be- 
ing able  to  discuss  the  merits  of  the  original 
productions.  Follow  De  Casseres  and  know 
what's  going  on  in  the  theater 

By  Benjamin  De  Casseres 


This  is  the  finest, 
most  entertaining  and 

most  joy-swelling  of  all  the  Shubert  "Artists  and  Models" 
productions. 

It's  a  lollapaloocha!  It's  a  Triple  It!  It's  a  Wow-Wow! 
It's  a  Dream!    It's  the  Naked  Truth! — get  what  I  mean? 

Yes — and  make  no  mistake — there  is  nothing  wrong  with 
this  summer's  "Artists  and  Models."  These  women  are 
beautiful  to  behold.  There  isn't  a  bawdy  thing  in  this 
show:  it  is  the  stuff  out  of  which  great  paintings  and 
sculpture  is  made.  It  is  audacity  that  hushes  and  awes. 
It  is  the  body  raised  to  an  ideal. 

And  a  pile  of  other  things — neat  and  dapper  Phil  Baker, 
pretty  Aileen  Stanley  and  Vera  Pearce,  grotesque  George 
Hassell  and  a  whirling  series  of  scenes  to  keep  you  for- 
getting the  heat  and  the  job. 

The  music  by  Harold  Stern  is  waltzy  and  libido-intoxi- 
cating. "Artists  and  Models"  is  just  that.  It  is  the  cleanest 
show  on  Broadway. 

"The  Garrick  Gaieties" 

The  Theater  Guild,  with  memories  of  other  Garrick 
successes,  received  the  "Gaieties"  at  the  Guild  Theater. 
Philip  Loeb  directed  the  current  job,  and  according  to 
the  picture  in  the  programme  about  three  thousand  seven 
hundred  and  sixty  persons  took  a  hack  and  a  bite  at  the 
music,  skits,  sketches,  lyrics,  costumes  and  what  haven't 
you. 

The  high  sketch  is  the  return  of  Grover  Whalen  to 
the  Wanamaker  store  with  its  song  Everything  can  be 
returned1.  Phil  Loeb  himself  played  the  celebrated  Gar- 
denia King.  It  brought  the  curtain  down  on  the  first 
act  with  a  crash.  It  is  rather  sensational,  and  shows  plainly 
that  the  Guild  program  does  not,  and  is  not  likely  to, 
carry  a  Wanamaker  ad. 

The  other  numbers  were  entertaining,  but  there  was 
nothing  that  roused  me  to  wild  storms  of  applause.  Of 
course,  there  was  Albert  Carroll,  the  perfect  artist  always, 
as  Mei  Lan-Fang.  Nobody  else  particularly  sticks  out 
in  my  memory. 


"Stepping  Sisters" 

This  hilarious  play 
by  Howard  Warren 
Comstock  is  the  story 
of  the  reunion  after 
about  twenty  years 
on  a  suburban  estate 
of  three  ex-burlesque 
queens. 

W  e  1  1,  w  h  e  n 
Queenie  and  Rosie 
and  Cissie  get  to- 
gether you  can  imag- 
ine that  the  Tower 
o  f  Babel  sounded 
like  a  cemetery  at  the 

North  Pole  in  comparison. 

There  are  a  lot  of  complications  which  only  occur  on 
Long  Island  in  the  summer  time  (yes,  Hedda,  I'm  thinking 
just  what  you're  thinking),  and  I've  seldom  seen  an  audi- 
ence enjoy  themselves  so  completely.  The  whole  business 
is  jolly  good  whoopee,  as  they  say  (Continued  on-  page  126) 


The  neat  and  dapper  Phil  Baker  is  one  of  the 
attractions  of  the  new  edition  of  "Artists  and 
Models,"  the  annual   elaborate  Broadway  revue. 


92 


The  outdoor  'kitchen'  where  with  sugar  and  spice 
and  all  things  nice  Zelma  mixes  the  ingredients 
for  candy  that  is  different. 


hen  you  go  into  the  kitchen  with  Zelma 
O'Neal,  it  will  not  be  to  cook  corned  beef 
and  cabbage  or  any  other  part  of  a  sub- 
stantial menu.  To  imagine  the  petite  and 
pepful  Zelma  concentrating  on  the  concocting  of  a  liver 
saute  or  the  mysteries  of  a  deep-dish  apple  pie  is  as  diffi- 
cult as  to  associate  her  with  a  stately  minuet  or  a  langurous 
waltz. 

Not  even  in  her  pleasant,  outdoor  kitchen  can  we 
imagine  Zelma  preparing  a  regular  meal.  But  candy — 
that's  different!  Here  is  where  she  excels.  And  the 
quicker  it  can  be  made,  the  better  she  likes  the  recipe. 

It  looks  so  easy  when  you  watch  her  do  it.  A  flip- 
flop  of  sugar,  spices,  nuts  and  what-have-you  into  a  sauce- 
pan; a  few  hoop-de-zoom-oop  turns  on  collegiate  oxford 
heels  while  she  waits.  And  she  knows  almost  to  a  sec- 
ond when  the  mixture  is  supposed  to  fall  into  a  nice, 
soft  ball  in  a  glass  of  water.  Candy-making  is  a  sort 
of  sport  with  Zelma,  not  a  tedious  process.  That's  why 
she  likes  it. 

"I  suppose  the  reason  I  enjoy  making  candy  is  because 
I  did  so  much  potato  peeling  and  salad  fixing  when  I  was 
a  schoolgirl  in  Rock  Falls,  Illinois,"  said  Zelma.  "I  had 
jobs  around  the  house  that  I  had  to  do  every  afternoon 
when  I  came  home  from  school.  I  am  sure  I  must  have 
peeled  at  least  six  thousand  potatoes  in  my  lifetime,  ar- 
ranged hundreds  of  salads  of  various  sorts  and  set  the 
supper  table  umpty-ump  times.  Now,  I  love  to  dabble 
about  with  candy  recipes.  It  helps  to  counterbalance 
those  serious  moments  in  the  family  kitchen  when  I  was 
a  little  girl." 

Zelma  has  a  sister  in  Hollywood  who  is  an  authority 


SCREENLAND 

Cooking 

for  the 

Fun  of  It 

Making  candy  with 
Zelma  O'Neal  in 
her  outdoor  kitchen 

By 
Emily 
Kirk 

for  the  statement  that  Zelma  was  the  neatest  little  kitchen 
worker  in  their  home  town. 

"Don't  believe  her,"  scoffed  Zelma.  "It's  just  that  I 
can't  bear  to  have  things  around  me  that  are  not  spick  and 
span.  It's  not  much  fun  to  scrub  floors  and  shine  the 
water  faucets.  But  jiminy!  they  do  look  nice  when  you've 
finished. 

"I  always  liked  to  make  a  good  job  of  whatever  I  was 
doing.  When  I  decided  to  learn  to  dance  I  went  about 
it  the  same  way  I  cleaned  the  kitchen  —  like  a  lady 
Napoleon  out  to  conquer.  Funny  little  kid,  I  must  have 
been!" 

Zelma's  knowledge  of  cookery  came  in  handy  later  on 
when  she  and  her  sister  were,  'plugging'  songs  in  a  music 
stall  in  Chicago.  They  didn't  make  much  money,  so  cook- 
ing their  meals  was  actually  necessary. 

Then  came  success  on  the  stage  and  more  time  to 
laugh  and  play  and  to  do  the  things  she  liked  best  to 
do.  And  now,  while  other  Hollywood  favorites  are  col- 
lecting first  editions,  tile  pieces  from  foreign  lands,  pewter- 
ware,  fine  etchings  and  beautiful  paintings,  Zelma  glee- 
fully follows  her  bent  of  gathering  candy  recipes  which 
she  tries  out  on  herself  and  recommends  to  her  friends. 

"If  you  hear  of  me  as  a'  lone  and  deserted  soul,  avoided 
by  all  my  women  friends,  it  will  be  because  I  was  instru- 
mental in  ruining  their  girlish  figures  and  consequently 
their  movie  careers,"  laughed  Zelma. 

Some  of  Zelma's  candies  are  as  unique  as  they  are 
delicious.  For  instance,  one  recipe  brought  home  to  her 
by  a  traveler  from  India.  It  is  called  'Jehablies,'  with 
the  accent  on  the  second  syllable,  _  According  to  Zelma, 
it  sounds  like  a  Hindu  trying  to  say  'jellybeans.'  But 


for    September  1930 


93 


Zelma  O'Neal's  Favorite  Recipes 


Bran  Brittle 

Put  two  cups  granulated  sugar,  one  cup  brown  sugar, 
one-half  cup  light  corn  syrup  and  one  cup  water 
into  a  saucepan  and  cook,  stirring  until  the  sugar  is 
dissolved.  Continue  cooking  gently,  without  stirring, 
until  the  temperature  300°  F.  is  reached,  (very 
brittle).  Remove  from  fire,  add  one-eighth  teaspoon 
salt,  one-fourth  cup  butter,  and  stir  only  enough  to 
mix  well.  Add  one-  and  one-half  cups  All-Bran  and 
turn  at  once  on  a  greased  inverted  pan  or  baking  sheet. 
Smooth  out  with  a  spatula.  After  about  a  half  minute 
take  hold  of  the  edges  of  the  candy  and,  lifting  it 
slightly  from  the  slab,  pull  it  as  thin  as  possible. 
Break  into  irregular  pieces. 


Pecan  Pralines 

Melt  one  tablespoon  butter  in  saucepan.  Add  one 
cup  sugar,  one-third  cup  cream,  one-half  cup  maple 
sugar.  Place  over  fire  and  stir  until  sugar  is  dissolved. 
Bring  mixture  to  the  boiling  point  and  boil  without 
stirring  until  it  forms  a  soft  ball  in  cold  water.  Re- 
move pan  from  the  fire,  place  in  cool  place  and  leave 
undisturbed  until  cool.  Add  one-half  teaspoon  salt 
and  beat  with  a  wooden  spoon,  or  pour  out  on  a 
marble  slab  and  use  a  spatula  until  mixture  shows 
signs  of  becoming  firm.  Place  again  in  pan  and  stir 
over  hot  water  until  softened.  Add  one  cup  pecans, 
leaving  them  whole.  Drop  from  spoon  on  buttered 
slab  of  marble. 


the  candy,  she  says,  is  nothing  like  the  old  American  favor- 
ite and  she  warns  you  that  if  you  are  wise  you  will 
supply  your  guests  with  coveralls  when  you  serve  it  as 
it  is  the  stickiest  as  well  as  the  most  delicious  of  con- 
fections. 

Zelma  likes  to  experiment,  too.  She  had  always  heard 
that  one  of  her  favorite  confections,  'Divinity,'  could  not 
be  successfully  made  on  a  rainy  day.  But  as  one  of  her 
theories  is  that  success  in  anything  means  achieving  results 
and  at  the  same  time 
being  'different'  she 
conjured  a  'Divinity' 
recipe     which  defies 


rainy  days,  cloud-bursts  or  blizzards. 

Another  one  of  her  original  recipes  contains  cooked 
potatoes  as  one  of  its  ingredients.  Proving  that  Zelma' 
knows  how  to  do  something  with  potatoes  besides  peel 
them  and  also  that  her  aforementioned  theory  about  achiev- 
ing results  and  being  'different'  is  correct.  Her  recipe 
for  pecan  pralines  is  one  she  has  hoarded  since  she  went 
through  the  South  on  a  vaudeville  tour.  And  her  toffee, 
she  tells  her  English  husband,  Anthony  Bushell,  is  guar- 
anteed to  be  as  deli- 
cious as  any  that  can 
be  bought  along  Pic 
(Continued  on  page  111) 


Zelma  stirs  the  candy  to  a  creamy  thickness   while  friend  husband, 
Anthony  Bushell,  looks  on  eagerly;  waiting,  we  suspect,  for  the  moment 
when  he  can  indulge  in  the  good  old  custom  of  'licking  the  pan.' 


94 


SCREENLAND 


Above,  "To  40  pounds  of  cotton  add  proportionate 
amounts  of  gelatine,  water,  camphor  and  silver. 
That's  what  a  movie  is  made  of,"  says  Kay  Johnson. 

Right,  Buster,  featured  player  in  "Dogway  Melody," 
considers  his  new  contract.    "Okay,"  he  bow-wows 
and  signs  with  Catherine  Moylan  as  witness. 


Latest  Talk  from 
Talker  Town 


HOT  from 


Cecil  De  Mille  was  once  fired  by  Arch  Selwyn 
for  incompetence  as  a  director! 
"You  haven't  power  enough,"  complained 
Arch,  who.  quarreled  with  Mr.  De  Mille's 
method  of  developing  what  the  actor  had  in  him  rather 
than  make  him  a  mimic.  "You  should  make  them  do 
as  you  say." 

Wonder  what  Arch  thinks  of  him  now! 

❖     ❖  ❖ 

Leslie  Howard  is  here  to  play  in  "Outward  Bound," 
which  Warner  Brothers  are  producing.  Leslie  was  in  the 
New  York  production  but  not  in  the  part  he  now  plays, 
which  was  then  handled  by  Alfred  Lunt.  Doug  Fairbanks, 
Jr.,  plays  Howard's  original  part  in  the  screen  version. 

Leslie  is  much  amused  by  the  questions  the  press  ask 
of  picture  people  when  they  first  come  to  Hollywood  and 
when  he  saw  us  being  piloted  about  by  a  member  of  the 
publicity  department  he  looked  suspicious.  "I  suppose 
you  want  to  know  where  I  was  born.  Well,  I  never  was 
born!"  So  he  went  down  on  our  list  as  The  Man  Who 
Never  Was  Born. 

Beryl  Mercer,  Allison  Skipworth,  Dudley  Digges  and 
Lyonel  Watts  are  also  in  the  cast,  most  of  them  having 
been  in  the  play,  and  Robert  Milton,  who  directed  the 
play  is  also  directing  the  picture. 

A.  A  A 

...  ^»  ... 

What's  going  on  in  the  Fairbanks  family,  anyway? 
First,  Doug  astounded  Hollywood  by  remarking  that  he 


didn't  think  he'd  make  any  more  pictures  if,  indeed,  he 
went  through  with  his  present  plans.  Then  he  departed 
hurriedly  for  Europe  to  have  a  talk  with  Eisenstein,  the 
noted  Russian  director,  apparently  not  knowing  that  Mr. 
Eisenstein  was  on  his  way  to  America.  Doug  remained 
in  London  for  the  golf  tournament  and  then  hurried  home 
at  a  summons  from  Mary.  In  the  meantime  Mary  folded 
up  her  half-finished  picture,  "Secrets,"  and  calmly  an' 
nounced  that  she  will  reorganise  the  cast  and  staff  and 
begin  over  again.    Most  unusual,  most  unusual! 


Left,  Una  Merkel, 
who  appears  as 
Ann  Rutledge  in 
D.  W.  Griffith's 
first  talker,  "Abra- 
ham Lincoln,"  fre- 
quently 'stood  in' 
for  Lillian  Gish  in 
special  Griffith 
productions. 


for    Se pt ember    19  30 


95 


Left,  even  a  he-man  hero  needs  an  occasional  hair- 
cut. Lucille  Browne,  leading  lady  for  George  O'Brien 
in  "Last  of  the  Duanes,"  is  the  fair  barber  on  location. 


HOLLYWOOD 


But  Mary  was  just  being  shrewd.  As  she  got  further 
and  further  into  the  story  she  realized  that  the  tempo  and 
feeling  of  the  piece  as  she  understood  it  was  not  being 
brought  out,  and  that  if  it  wasn't  the  picture  would  not 
go  over.    She  decided  to  wash  it  all  up  and  begin  again. 

And  Douglas  further  amazes  Hollywood  by  deciding  to 
accept  the  leading  male  role  opposite  Bebe  Daniels  in 
"Reaching  For  The  Moon,"  Irving  Berlin's  forthcoming 
picture.  But  this,  also,  is  a  wise  move.  When  you  don't 
know  what  to  do,  do  nothing  until  you  do.    For  Doug, 


Right,  an  interest- 
ing study  of  Lillian 
Gish.  Is  this  mere- 
ly a  similarity  in 
posing,  or  do  these 
two  girls  really 
resemble  one  an- 
other ? 


playing  a  part  in  another  producer's  picture  is  doing 
nothing.  He  made  his  name  in  pictures  by  bringing  speed 
to  the  screen.  Now  that  sound  is  here  action  is  slowed 
up  to  a  considerable  degree  and  just  how  to  startle  the 
world  in  a  sound  picture  Doug,  as  yet,  has  not  discovered. 
And  he  doesn't  want  to  produce  another  picture  himself 
until  he  does. 

A  »♦«  »♦« 
♦  ♦  ♦ 

Excuse  us,  Samuel  Goldwyn,  we  didn't  mean  to  say  in 
last  month's  interview,  with  Mr.  Ziegfeld  that  he  was 
supervising  the  screening  of  "Whoopee,"  his  New  York 
stage  success.  We  know  Ziegfeld  came  out  to  Hollywood 
to  act  in  an  advisory  capacity  but  had  no  active  part  in 
the  making  of  the  picture.  We  know  of  no  one  more 
capable  than  you  are,  Mr.  Goldwyn,  of  supervising  your 
own  productions! 

•♦*     *♦**  *♦* 

The  Screen  Stars'  shop  located  at  1614  Cahuenga 
Avenue,  Hollywood,  has  had  its  formal  opening.  Sixty 
five  of  the  brightest  film  lights  were  present.  Norma  Tab 
madge,  Mary  Pickford,  Virginia  Valli,  Norma  Shearer, 
and  a  string  of  people  like  that.  The  plan  for  the  shop 
is  this;  the  screen  stars  pledge  themselves  to  bring  their 
clothes,  costume  jewelry  and  anything  of  value  or  inter- 
est to  the  shop  to  be  sold.  The  things  must  be  in  good 
condition.  The  proceeds  of  the  shop  are  to  go  toward 
the  relief  of  families  belonging  to  the  theatrical  and  mo- 
tion picture  business  whose  supporting  members  are  out  of 


96 


SCREENLAND 


work.  In  this  interesting  shop  the  public  may  purchase 
at  a  fraction  of  its  original  cost  the  beautiful  clothes  of 
the  players.  Some  things  are  from  their  personal,  some 
from  their  professional  wardrobe.  It  will  be  a  boon  to 
the  little  extra  girls  whose  jobs  often  depend  upon  the 
fitness  of  their  wardrobe  and  whose  pocketbooks  cannot 
expand  to  meet  Greer,  Collins  and  Magnin  prices. 
❖     ❖  ❖ 

Evelyn  Laye,  the  beautiful  English  girl  whom  Florenz 
Ziegfeld  predicts  will  be  the  sensation  in  pictures  that 
she  was  in  his  New  York  production  of  "Bitter  Sweet" 
is  scheduled  for  all  sorts  of  parties  upon  her  arrival  in 
Hollywood. 

Evelyn  is  bringing  with  her  the  manuscript  for  the  next 
Ronald  Colman  picture  which  Frederick  Lonsdale  has  just 
completed.  The  noted  English  playwright  and  Ronnie  have 
been  talking  the  story  over  ever  since  they  returned  to 
London  and  now  it  is  finished.  Ronnie  is  not  due  in 
Hollywood  for  several  more  weeks  and  Evelyn  was  asked 
to  act  as  manuscript  bearer. 

Another  bit  of  news  is  that  Leon  Errol,  who  has  con- 
vulsed  Broadway  for  years,  will  play  the  comedy  lead  in 
Miss  Laye's  first  picture,  "Lilli,"  which  Samuel  Goldwyn 
will  produce. 

❖  ❖  ❖ 

Josephine,  Lupe  Velez'  little  sister,  is 
playing  a  cigarette  girl  in  "Her  Man" 
and  getting  along  very  nicely.  The  lot 
talk  is  that  Jo  is  right  there  when  it 
comes  to  pep  and  charm.  Well,  that's 
not  surprising.    It's  in  the  family. 

❖  ❖  ❖ 

Mr.  Jansen,  maker  of  the  popular 
bathing  suits,  opened  a  beach  resort  in 
Portland,  Oregon,  called  Jansen's  Beach 
to  which  he  is  luring  a  number  of  our 
stars  to  give  the  place  a  boost.  Sue 


Above,  Estelle  Taylor  and  Charles  Far- 
rell    in   "Devil    With    Women,"  screen 
version  of  Molnar's  "Liliotn" — Estelle's 
first  talker. 


Left,  Ruth  Chatterton,  'first  lady  of  the 
talkers,'  as  she  appears  in  "The  Better 
Wife"  and  in  a  blonde  wig.    Very  be- 
coming. 


Below,  Edna  Woolman  Chase,  editor  of 
Vogue,   on   the  set   with  her  daughter, 
Ilka    Chase,    Irene    Rich,    and  director 
Guthrie  McClintic. 


Carol  and  Nick  Stuart  were  the  first  to 
go,  then  Olive  Borden  and  Jeanette  Loff. 
Lilyan  Tashman,  Dorothy  Lee,  Marceline 
and  Alice  Day,  Charlie  Morton  all  will 
be  among  those  present.  The  stars  fly  up 
and  back  and  it  gives  them  quite  a  little 
picnic. 

❖  ❖  ❖ 

By  the  way,  Dorothy  Lee,  who  is  un- 
der  contract  to  RKO,  is  engaged  to  be 
married  to  a  very  personable  young  Holly 
woodian  by  the  name  of  Jimmie  Fidler, 
writer  and  publicist.  The  wedding  will 
be  in  August. 

❖  ❖  ❖ 

Well,  "Hell's  Angels"  finally  opened. 
It  was  a  surprise  to  Hollywood,  and  it 
caused  greater  interest  and  called  forth 
a  more  brilliant  audience  than  any  open- 
ing for  more  than  two  years.  The  seats 
sold  at  eleven  dollars  each,  which  is  a 
dizzy  price  out  here.  They  do  it  in  New 
York  but  that's  different.  However,  it 
was  a  trick  of  showmanship  for  which 
Mr.  Sid  Grauman,  who  is  handling  the 
presentation  of  the  picture,  should  be 
congratulated.  We  are  apt  to  think  we 
must  have  a  thing  if  it  comes  high.  Bank' 


for    September  1930 


97 


Above,  Ona  Munson,  a  newcomer  from 
the  Broadway  stage,  and  Larry  Gray,  her 
screen    lover,   rehearsing    a    song  from 
"Going  Wild." 


Right,    may    we    present    Miss  Lucille 
Powers?    Yes,  she's  new — discovered  by 
King    Vidor.     You'll   see   her   in  "Billy 
the  Kid." 


Below,  little  Tommy  Clifford  welcomes 
to   Movietone   City   Harley   L.  Clarke, 
new  president  of  Fox;  W infield  Sheehan 
and  J.  R.  Grainger. 


he  remained  impervious  to  all  pleading  until  he  felt  assured 
the  strange  and  unwelcome  visitor  had  departed. 

Ben,  by  the  way,  has  had  several  tempting  offers  since 
his  fine  work  in  the  air  epic  flashed  on  the  screen.  Two 
were  especially  tempting  but  so  far,  what  with  the  wed- 
ding and  his  disinclination  to  have  every  breath  he  draws 
tied  up  for  the  next  five  years  (with  the  studio,  we  mean, 
not  with  Bebe!)  he  has  not  signed  at  present  writing. 

Eddie  Cantor  was  master  of  ceremonies  that  eventful 
night.  He  told  us  he  had  just  discovered  who  paid  for 
all  the  banners  strung  along  Hollywood  Boulevard  read' 
ing  "Welcome,  'Hell's  Angels'  and  the  return  of  Sid 
Grauman."  It  was  the  master  barbers  of  Hollywood. 
When  Sid  wants  a  trim  they  take  a  day  off  and  if  he 
wants  a  shampoo  they  close  the  shop  for  a  week!  This 
was  all  poking  fun  at  Sid's  bushy  mane. 

Eddie  Cantor  was  master  of  ceremonies  at  'The  Flora- 
dora  Girl"  opening,  too.  He  said  he  had  just  found  out 
why.  The  management  wanted  someone  in  keeping  with 
the  spirit  of  the  gay  nineties  and  after  reading  some  of 
his  jokes  they  thought  he  would  do  all  right. 

❖     ❖  ❖ 

June  Collyer  is  coming  right  along.  At  first  it  didn't 
look  as  though  June  was  in  for  a  long  run,  but  now  she 
is  so  much  in  demand  that  studios  hold 
up  production  in  order  to  have  her  in 
the  cast.  She  has  flown  from  one  to 
the  other  recently,  the  first,  of  this  cycle 
being  "Mile.  Modiste"  with  First 
National;  the  next  at  Warners  in 
"Sweet  Kitty  Bellaires,"  the  next  "The 
Man  From  Wyoming,"  at  Paramount, 
and  then  "Beyond  Victory"  at  Pathe, 
where  she  filled  the  part  Ann  Harding 
was  not  free  to  take. 

❖     ❖  ❖ 

It's  the  height  of  something  or  other 


ing  on  this  fact  and  upon  the  very  real  interest 
in  the  film  to  strengthen  his  resolve  Sid  went 
right  to  it — and  every  seat  in  the  house  was  sold, 
with  hundreds  turned  away! 

It  was  a  scandalously  late  opening.  They 
blamed  it  on  Captain  Roscoe  Turner,  who  left 
New  York  that  morning  by  airplane  at  five  so 
as  to  be  present  at  the  opening.  He  arrived  at 
the  theater  at  nine-thirty.  That's  some  traveling, 
isn't  it?  By  the  time  he  had  made  his  radio 
speech,  been  photographed  and  newsreeled,  it 
was  ten  o'clock  and  the  show  began.  The  few 
punctual  people  in  Hollywood  had  been  sitting 
in  their  places  since  eight-thirty,  Ben  Lyon  and 
Bebe  Daniels  with  their  party  being  among  them. 
Ben  is  always  punctual  and  like  a  fish  out  of 
water  if  he  can't  get  places  at  the  appointed 
time. 

Captain  Turner  made  his  bow  before  the  foot- 
lights with  the  lion  cub  he  brought  with  him 
who  spat  her  disapproval  of  the  whole  proceed- 
ing. The  next  evening  he  was  to  dine  with  Ben 
Lyon  and  took  the  cub  along.  Ben  has  two 
whippets  and  one  of  them  began  the  usual  doggie 
preliminaries  to  an  introduction.  After  one  whiff 
of  the  little  lioness,  however,  the  whippet 
bounded  back  with  a  yelp  of  surprise  and  fright, 
bolted  up  the  stairs  and  under  Ben's  bed  where 


98 


SCREENLAND 


when  a  man  has  to  travel  from  Hollywood  to 
London,  England,  to  do  less  than  half  a  day's 
work.  That's  what  Jack  Buchanan  had  to  do. 
He  may  be  an  actor  in  Hollywood  but  he's  a 
producer  in  England  and  as  such  had  to  be 
present  when  an  actor  was  signed  up  for  one  of 
his  forthcoming  productions. 

"Well,  it  gave  me  a  chance  for  a  full  night's 
rest  anyway,"  said  Jack,  razaing  the  cra2;y  work' 
ing  hours  in  Hollywood. 


Here  we  see  Constance  Bennett,  one  of  the  most  glamourous 
girls  in  pictures,  beginning  her  working  day  as  any  other  business 
girl.    On  the  set  for  "Three  Faces  East." 


Joan  Marie,  daughter  of  Warden  Lewis  E.  Lawes  of  Sing  Sing 
prison,  says  good-bye  at  the  famous  South  Gate  before^  leaving  for 
Hollywood  to  play  in  a  picture  of  prison  life. 


Dorothy  Jordan  shows  Baron  Phillippe  de  Rothschild,  French 
theater  owner,  how  a  microphone  works.    The  Baron  was  a  recent 
guest  of  Louis  B.  Mayer  at  the  MGM  studios. 


Before  Stanley  Fields,  whose  latest  picture  is 
"Ladies  Love  Brutes,"  came  out  here  a  friend 
told  him  to  be  sure  and  have  plenty  of  ward' 
robe.  Whereupon  Stanley  ordered  fifteen  suits. 
He  has  only  worn  one  of  them,  in  pictures  that 
is,  his  usual  costume  being  rough  corduroys. 

Stanley  seems  to  be  developing  into  one  of 
our  favorite  bad  men  out  here. 

❖  ❖  ❖ 

During  the  production  of  "Holiday,"  E.  H. 
Griffith,  the  director,  needed  an  actor  to  play  a 
small  bit  of  comedy  and  asked  Jimmie  Biro  to 
do  it.  Now  Jimmie  was  a  first  lieutenant  in  the 
Hungarian  Army  during  the  World  War  but 
has  since  cast  his  lot  with  Hollywood,  not  as  an 
actor,  however.  Jimmie  is  in  the  electrical  de' 
partment  and  takes  charge  of  all  the  various 
buyers  connected  with  the  signals  from  the  set 
to  the  mixer's  room  aloft.  He  is,  however,  a 
natural-born  comedian  and  livened  up  his  bit  so 
tremendously  that  Mr.  Griffith  encouraged  him 
to  take  up  acting  as  a  profession,  predicting 
that  he  would  be  a  second  El  Brendel.  But 
Jimmy  wouldn't  hear  of  such  foolishness.  "Not 
me,"  he  declared.  "I've  seen  too  many  actors 
hanging  around  here  out  of  work.  I'm  going  to 
stick  to  the  little  old  bu^er!" 

❖  ❖  ♦> 

Jimmy  Gleason  plays  a  soldier  in  "Beyond 
Victory"  and  a  sailor  in  "Her  Man,"  both  in 
production  at  Pathe  at  the  same  time.  It  keeps 
him  pretty  busy  but  he  has  two  breaks.  One  is 
that  both  pictures  are  on  the  same  lot,  the  other 
is  from  the  wardrobe  department.  "All  I  have 
to  do  is  change  my  pants,"  said  Jimmie.  He 
wears  khaki  overalls  as  the  soldier  and  blue 
overalls  as  the  sailor. 

The  boys  are  all  getting  on  the  job  at  three- 
thirty  so  as  not  to  miss  the  early  morning  light 
for  the  trench  scenes,  and  it's  interfering  a  lot 
with  their  rest.  They  declare  they  don't  mind 
fighting  the  World  War,  but  this  three-thirty 
business  is  the  bunk! 

❖  ❖  ❖ 

A  little  girl  by  the  name  of  Frances  Dee  has 
just  signed  a  ten  months'  contract  with  Para- 
mount and  will  make  her  bow  in  "The  Little 
Cafe,"  playing  opposite  Maurice  Chevalier. 
Frances  said  it  amused  her  to  find  another  studio 
upon  whose  lot  she  had  played  time  and  time 
again  almost  demand  that  she  sign  with  them 
when  it  had  been  rumored  that  Paramount  had 
offered  a  contract. 

❖  ❖  ❖ 

We  have  just  heard  that  it  took  three  people, 
none  of  them  connected  with  the  studio,  to  think 
of  the  title  for  the  western  picture  Bill  Haines 
recently  completed.    Now  brace  yourself,  because 


for    September  1930 


99 


this  should  be  a  knockout.    The  title  is  "Way 
Out  West."   There's  snappy  team-work  for  you. 
❖         ❖  ❖ 

At  Ben's  and  Bebe's  wedding  there  was  a 
balcony  and  stairway  connecting  the  two  ball- 
rooms which  are  on  separate  levels  at  the  Beverly 
Wilshire  Hotel.  Bill  Haines  started  to  make 
the  reception  hall  by  sliding  down  the  balustrade 
but  stopped  suddenly,  less  than  half  way.  Some 
folks  who  happened  to  see  it  thought  Bill  had 
decided  in  the  midst  of  it  that  sliding  down  the 
bannisters  wasn't  exactly  the  thing  to  do  at  a 
wedding.  But  we  strongly  suspect  Bill  found 
the  balustrade  which  was  covered  with  plush,  not 
so  good  for  sliding.  The  irrepressible  Bill  is  not 
one  to  be  daunted  by  the  conventions. 


"Oh,  if  anyone  sends  me  another  one  of  these 
things  I'll  scream!"  cried  Alice  White,  tearing 
to  bits  a  sheet  of  paper  and  stamping  it  on  the 
studio  floor.  "It's  the  tenth  this  week."  The 
object  of  her  wrath  was  a  chain  letter  with 
which  Hollywood  has  been  suddenly  deluged. 

"Have  some  lunch?"  she  invited,  but  nobody 
did  for  what  do  you  think  it  was?  A  chicken 
sandwich,  a  pint  of  milk,  and  two  squares  of 
milk  chocolate! 

"That  goes  on  every  day.  She  thinks  it  helps 
her  with  her  acting,"  said  her  director,  Eddie 
Cline,  who  loves  to  imitate  Benny  Rubin. 

"Well,  it  helps  keep  the  pounds  off,  anyhow," 
laughed  Alice  who  had  curled  herself  up  in  her 
chair  and  started  to  munch  her  sandwich,  "I 
don't  know  exactly  why,  because  milk  is  not 
supposed  to  make  you  thin.  But  it's  a  poor  rule 
that  doesn't  work  both  ways,  they  say." 

❖  ♦  ❖ 

If  Howard  Greer  doesn't  get  half  the  money 
the  feminine  film  stars  make,  Harry  Collins  does. 
These  are  two  of  the  leading  sartorial  estab- 
lishments out  here.  We  heard  Lila  Lee  com- 
plaining that  after  a  Collins  orgy  she  was  broke, 
but  if  all  the  creations  she  bought  were  as  charm- 
ing as  the  crushed  strawberry  handkerchief  linen 
frock  she  wore  at  the  Embassy  she  probably 
won't  mind  that  temporary  flatness  of  purse. 

Lila  has  been  a  busy  girl  these  days  and  there 
is  a  part  in  New  York  being  dangled  before  her 
eyes  which  were  sparkling  when  she  told  us 
about  it.  "I've  not  been  in  New  York  for  four 
years,  and  I'm  dying  to  go." 

❖  ❖  ♦:♦ 

In  a  recent  picture  Sharon  Lynn  had  location! 
scenes  at  the  home  of  a  very  wealthy  society  girl 
who  had  loaned  her  estate  for  the  benefit  of  a 
charity.  Sharon  was  supposed  to  drive  from  the 
entrance  and  they  brought  a  Chrysler  78  for  her 
use.  "Oh,  I  don't  think  that  will  do,"  Sharon 
said  hesitatingly.  "This  girl  is  supposed  to  be 
very  wealthy  and  I  should  think  she  would  be 
driving  a  Packard  or  a  Rolls."  The  man  who 
was  responsible  for  getting  the  car  scratched  his 
head.  Finally,  he  said,  "The  lady  who  owns  this 
house  ought  to  put  us  right  on  that.  She's  an1 
heiress,  very  wealthy,  and  she's  home.  Let's 
ask  her." 

"Well,"  replied  the  lady  brightly,  "all  of  my 
friends  seem  to  be  driving  Fords!" 


Dorothy  Mackaill,   one   of   the  most  versatile  of  troupers,  all 
ready  for  work  in  the  sound  version  of  "Office  Wife,"  from  the 
popular  novel  of  that  name  by  Faith  Baldwin. 


By  their  smiles  you  shall  know  them — Mrs.  Henry  Cooper  and 
her  son,  Gary.    And  note  the  marked  resemblance  in  the  profile 
of  Judge  Cooper  to  that  of  his  famous  son. 


Ben  Lyon  and  Harry  Langdon  doing  kitchen- police  duty  in  "A 
Soldier's  Plaything"  under  Michael  Curtiz'  stern  direction.  Who 
says  actors  do  not  suffer  for  their  art? 


100 


8CREENLAND 


Irving  Lippmtm 


Making  a  Scene  for  "Moby  Dick" 


■Here's  little  Dolores  Ethel  Barrymore's  daddy  hard 
at  work  on  his  talker  version  of  "The  Sea  Beast," 
which,  you  remember,  was  one  of  his  most  popular 
silent  successes.  In  its  latest  version  this  story  of 
the  sea  receives  its  original  title  of  "Moby  Dick." 
Dolores  Costello,  now  Mrs.  John  Barrymore,  was 
leading  lady  in  that  first  picture.  Joan  Bennett  has 
the  heroine's  role  in  the  new  film.  Here  you  see 
John  listening  to  director  Lloyd  Bacon's  outline  of 
the  forthcoming  scene.  Take  a  good  long  look,  for 
it  isn't  often  you  have  an  opportunity  to  watch  a 
Barrymore  in  action  on  the  set. 


for    Se  ptember    19  30 

cASK 

(Me 

An  Answer  Depart- 
ment of  Information 
about  Screen  Plays 
and  Players 

By  Miss  Vee  Dee 


Mildred  B.  from  J{ew  Jersey.  Just 
received  a  wire  from  Douglas 
Fairbanks,  Jr.  saying  that  he  was 
born  in  New  York  City,  Decem- 
ber 9,  1908.  In  a  recent  issue  of  Screen- 
land  we  made  him  two  years  younger. 
Young  Doug  is  22  and  proud  of  it!  "The 
Dawn  Patrol"  will  be  his  next  release. 

Betty  Joe  from  Ft.  Worth,  Tex.  Have 
-I  ever  had  a  voice  test?  Yes,  and  now  that 
you  ask,  I've  had  several  'scream'  tests, 
but  why  go  into  that?  In  1920,  Clive 
Brook  married  Mildred  Evelyn,  a  popular 
English  actress.  He  came  to  the  United 
States  in  1924.  He  has  two  children,  Faith 
Evelyn  and  Clive,  Jr.  You  can  reach  Clive 
Brook,  Charles  Rogers,  and  Richard  Arlen 
at  Paramount  Studios,  5451  Marathon  St., 
Hollywood,  Cal.  Greta  Garbo  at  Metro- 
Goldwyn-Mayer  Studios,  Culver  City,  Cal. 
Janet  Gaynor  and  Charles  Farrell  at  Fox 
Studios,  1401  No.  Western  Ave.,  Holly- 
wood, Cal. 

Jac\ie  from  Homer  City,  Pa.  I  don't 
believe  Ann  Harding  is  the  long-lost  chum 
you're  looking  for.  Ann  doesn't  give  her 
birth  place  or  her  name  before  she  became 
an  actress.  She  is  Mrs.  Harry  Bannister, 
in  private  life.  She  attended  school  at 
Montclair,  N.  J.,  and  the  Baldwin  School, 
Bryn  Mawr,  Pa.  You  can  write  her  at 
Pathe  Studios,  Culver  City,  Cal. 

G.  M.  of  Birmingham,  Ala.  So  Ramon 
Novarro  is  your  everlasting  heartache. 
Something  should  be  done  about  that,  but 
do  you  think  a  trip  to  Hollywood  and  a 
talk  with  Ramon  would  ease  the  ache? 
Ramon  has  made  two  pictures  since  "The 
Pagan"  with  Dorothy  Janis:  "Devil-May- 
Care"  and  "In  Gay  Madrid,"  also  with 
Dorothy  Jordan.  John  Mack  Brown  mar- 
ried a  college  sweetheart. 

Marjorie  C.  of  Hollis,  L.  I.  Where 
have  you  been,  my  dear,  not  to  know  that 
Garry  Cooper  is  one  of  the  most  talked- 
about  young  stars?  And  such  swell  things 
the  fans  say  about  him,  too!  In  the  event 
you  have  overlooked  my  own  private 
ravings,  Gary's  real  name  is  Frank  J.  Cooper 
and  he  was  29  years  old  on  May  7,  1930. 
His  latest  pictures  are  "Seven  Day's  Leave" 
with  Beryl  Mercer,  "The  Virginian"  and 
"Only  the  Brave,"  with  Mary  Brian,  and 


The  popular  Larry  Gray  is  'head 
man  this  month  with  the  Ask 
Me  department.  "The  Crooning 
Lover"    will   be   kis   next  single. 


"The  Texan,"  with  Fay  Wray.  You  can 
reach  him  at  Paramount  Studios,  5451 
Marathon    St.,    Hollywood,  Cal. 

Loo-Choo  fro  Los  Angeles.  Aren't  you 
the  lucky  person  to  see  the  actors  on  the 
street  making  pictures?  Mary  Astor  was 
born  May  3,  1906,  in  Quincy,  111.  She 
has  auburn  hair,  dark  brown  eyes,  is  5 
feet  5  inches  tall  and  weighs  120  pounds. 
Her  husband  was  Kenneth  Hawks,  who  was 
killed  in  January.  Paddy  O'Flynn  was 
born  in  Pittsburgh,  Pa.  He  began  his 
screen  career  in  1926.  He  has  brown  curly 
hair,  blue  eyes,  is  5  feet  10VL»  inches  tall 
and  weighs  150  pounds. 

Jane  R.  T.  of  Bronxville,  7S{.  T.  There 
are  many  ways  of  obtaining  photographs  of 
the  screen  players — the  most  popular  method 
is  to  write  to  the  stars  personally,  then 
park  yourself  near  the  favorite  mail  box 
and  wait  for  the  returns.  And  what  re- 
turns! Molly  O'Day  is  18  years  old  and 
her  sister,  Sally  O'Neil,  was  19  on  October 
23rd,  1929.  Molly  has  appeared  in  "The 
Little  Shepherd  of  Kingdom  Come,"  "The 
Patent  Leather  Kid,"  and  "Hard-Boiled 
Haggerty." 

Mrs.  Nellie  O'C.  of  Ottawa,  Ont.  You 
can  address  your  letter  to  Cecil  De  Mille, 
Metro-Goldwyn-Mayer  Studios,  Culver  City, 
Cal.  Mr.  De  Mille  was  born  August  12, 
1881,  in  Ashfield,  Mass.  He  is  5  feet  11 
inches  tall,  weighs  176  pounds  and  has 
brown  hair  and  eyes.  He  was  married  to 
Constance  Adams,  a  professional,  on  August 
16,  1902.  He  has  been  an  actor,  play- 
wright, manager  and  producer  on  the  stage. 
In  1913  he  became  identified  with  the 
screen.  He  has  directed  many  of  the  out- 
standing films  of  the  picture  industry.  His 
latest  one,  "Madame  Satan,"  features  Regi- 
nald Denny,  Kay  Johnson  and  Lillian  Roth. 


101 


Miss  Vee  Dee  will  be  glad  to 
answer  any  questions  you  may 
care  to  ask  about  pictures  and 
picture  people.  If  you  wish  an 
answer  in  the  Magazine,  please 
be  patient  and  await  your  turn; 
but  if  you  prefer  a  personal 
reply,  please  enclose  a  stamped 
addressed  envelope.  Address: 
Miss  Vee  Dee,  Screenland 
Magazine,  45  West  45th  Street, 
New  York  City. 


Peggy  from  West  Virginia.  How  do  I 
take  things?  Never  seriously;  always  with 
a  smile.  Douglas  Fairbanks,  Jr.  is  not  Mary 
Pickford  Fairbanks'  son.  His  mother  is 
Mrs.  Beth  Sully  Whiting,  former  wife  of 
Douglas,  Sr.  Ruth  Taylor  was  married 
March  17,  1930,  to  Paul  S.  Zuckerman  of 
New  York  City.  Nancy  Carroll's  address  is 
given  elsewhere  in  this  department.  Her 
newest  picture  is  '"The  Devil's  Holiday'' 
with  Phillips  Holmes,  James  Kirkwood,  Paul 
Lukas,  Morton  Downey  and  Zasu  Pitts. 

Dolly  D.  of  Weymouth,  Mass.  You  and 
the  girl  friend  want  a  couple  of  fast  answers,, 
do  you?  All  right,  catch  this  one.  In 
"Children  of  Pleasure,"  Lawrence  Gray  sings 
The  Whole  Darned  Thing  s  For  Ton. 
Wynne  Gibson  appears  with  him.  There's 
a  new-comer  to  the  screen  that  will  make 
you  cry  for  more  of  her.  Marion  Davies 
is  5  feet  5  inches  tall.  Joan  Crawford  and 
Marie  Prevost  are  5  feet  4  inches.  Laura 
La  Plante  is  5  feet  3  inches.  Clara  Bow 
is  5  feet  3V2  inches. 

Kiyo\o  Yoshi\awa  of  Hawaii.  A  little 
Japanese  girl,  as  sure  as  I  live.  Now  that 
we  are  introduced,  what's  on  your  mind? 
The  stars  you  ask  about  have  dropped  out 
of  sight  since  you  saw  them  last  on  the 
screen  so  if  you'll  ask  me  about  some  of 
the  more  active  players,  I'll  be  happy  to 
give  you  the  last  word  about  them. 

Richmond  Belle  from  California.  There 
is  really  nothing  the  matter  with  Lon 
Chaney  —  his  directors,  producers  and 
scenario  writers  will  have  to  take  the  blame 
because  Lon  never  gets  the  girl  he  wants  in 
his  pictures.  Maybe  Lon's  not  so  easy  to 
get.  His  last  picture  was  "Thunder,"  with 
Phyllis  Haver,  James  Murray  and  George 
Duryea.  This  film  was  Phyllis  Haver's  last 
appearance  before  her  marriage  and  retire- 
ment from  the  screen.  Lon  is  now  busy 
making  a  talkie  version  of  "The  Unholy 
Three." 

Virginia  S.  from  Pawtuc\et,  R.  I.  We 
couldn't  go  to  press  without  some  news 
about  Buddy  Rogers,  the  gift  to  America's 
sweethearts,  young  and  old.  Buddy  has  a 
brother,  Bh  (pronounce  it,  if  you  can)  who 
has  been  given  a  try-out  by  Paramount 
where  he  will  play  bits  for  the  first  few 
months.    Buddy's  new  leading  lady  for  his 


102 


SCREENLAND 


next  picture,  "Heads  Up,"  is  Margaret 
Breen  of  the  stage.  The  picture  is  being 
made  at  the  New  York  Paramount  Studios. 
You  can  adress  June  Collyer  at  Fox  Studios, 
1401  No.  Western  Ave.,  Hollywood,  Cal. 
June's  real  name  is  Dorothea  Hermance. 
Matty  Kemp  was  born  in  New  York  City 
on  September  10,  1907.  He  has  brown 
hair  and  eyes,  is  5  feet  IOV2  inches  tall 
and  weighs  162  pounds. 

Josephine  of  Mt.  Vernon,  Y.  Til  ad' 
mit  I'm  the  state  champion  answer  lady,  if 
not  national,  but  I  wouldn't  have  space  in 
this  department  to  give  you  the  names  and 
addresses  of  all  the  screen  players  in  Holly 
wood  and  the  New  York  studios.  Drop  me 
a  line  and  ask  for  five  or  six  of  your  favor- 
ites and  I'll  be  happy  to  give  you  their 
addresses.    I  thank  you. 

Marjorie  O.  from  Hayward,  Cal.  You 
think  you  could  hold  my  job  and  no  one 
would  be  the  wiser?  I  guess  that  will  hold 
me  for  the  future.  Colleen  Moore's  last 
release  was  "Footlights  and  Fools."  You 
can  reach  her  at  First  National  Studios,  Bur- 
bank,  Cal.  Ken  Maynard  appears  in  "The 
Fighting  Legion"  with  Dorothy  Dwan;  and 
in  "Kettle  Creek"  with  Kathryn  Crawford. 
Address  Ken  at  Universal  Studios,  Universal 
City,  Cal. 

Josephine  from  Vancouver.  You  are  not 
the  only  person  to  be  'this  and  that'  over 
Nils  Asther  so  you'll  be  delighted  to  know 
he  will  appear  in  an  all-talking  picture, 
"The  Sea  Bat,"  with  Raquel  Torres.  Nils 
was  born  January  17,  1901,  in  Malmo, 
Sweden.  He  has  black  hair,  brown  eyes, 
is  6  feet  tall  and  weighs  170  pounds.  He 
is  not  married.  He  has  played  in  "Topsy 
and  Eva"  with  the  Duncan  sisters;  "Sorrell 
and  Son"  with  H.  B.  Warner;  "Laugh, 
Clown,  Laugh"  with  Lon  Chaney  and 
Loretta  Young;  "The  Cossacks"  with  John 
Gilbert  and  Renee  Adoree;  "Our  Dancing 
Daughters"  with  Joan  Crawford  and  Anita 
Page;  "Cardboard  Lover"  with  Marion 
Davies,  and  "Dream  of  Love"  with  Joan 
Crawford. 

A  Costant  Reader  from  Washington,  D. 
C.  If  I  had  the  information  you  want, 
it  wouldn't  be  any  trouble  to  give  it  to 
you;  but  I  do  not  divulge  the  methods  used 
by  the  stars  to  keep  their  poundage  within 
camera  demands.  But  the  August  Screen- 
land  had  an  article  called  "How  to  Have 
a  Hollywood  Figure,"  by  Philadelphia  Jack 
O'Brien,  with  interesting  information  along 
the  lines  of  reducing. 

Sophie  from  Gary,  Ind.  Coyly  dodging 
this  and  and  that  to  avoid  getting  into  the 
rough,  has  developed  my  sense  of  humor  to 
a  marked  degree.  Do  I  like  my  job?  Who 
wouldn't?  John  Gilbert's  real  name  is 
Pringle.  He  was  married  to  Ina  Claire  on 
May  9,  1929.  He  was  born  July  10,  1897, 
in  Logan,  Utah.  At  the  age  of  ten  years, 
he  made  his  first  stage  appearance  with  the 
late  Eddie  Foy. 

Mary  >J.  of  Halifax,  7<[ova  Scotia.  When 
you  fell  for  Bebe  Daniels,  you  fell  hard 
and  when  you're  mad  about  a  star,  you're 
good  and  mad.  Well,  well!  With  the 
arrival  of  the  talking  and  singing  pictures, 
a  new  Bebe  Daniels  was  discovered.  She 
was  29  years  old  on  January  14,  1930. 
Her  eyes  are  dark  brown,  her  hair  is  black 
and  she  is  5  feet  5  inches  tall  and  weighs 
120  pounds.  Bebe  is  Mrs.  Ben  Lyon  now. 
Her  new  picture  is  "Dixiana"  with  Lloyd 
Hughes. 


Gary  Cooper  Fan  from  Chicago.  You 
want  to  help  boost  Gary's  fan  mail,  do 
you?  Take  your  bow,  good-looking  Gary. 
Success  has  not  gone  to  Gary's  head;  he 
has  worked  hard  and  has  given  his  best 
in  portrayals  of  the  characters  assigned  him. 
His  new  picture  is  "The  Texan"  with  Fay 
Wray.  Some  of  his  older  films  are 
"Winning  of  Barbara  Worth"  with  Ronald 
Colman  and  Vilma  Banky;  "Children  of 
Divorce,"  with  Clara  Bow  and  Esther 
Ralston;  "Arizona  Bound"  with  Betty  Jewel 
and  El  Brendel;  "Wings"  with  Charles 
Rogers,  Richard  Arlen  and  Clara  Bow; 
"Nevada"  with  Thelma  Todd,  and  "The 
Last  Outlaw"  with  Betty  Jewel  and  Jack 
Luden. 

La  Vida  from  Portland,  Oregon.  One 
of  my  many  followers,  are  you?  That's 
fine  but  I  always  manage  to  keep  two  leaps 
ahead  of  the  gang,  if  you  get  me  and  you 
haven't  yet.  Buddy  Rogers  was  born 
August  13,  1905,  in  Olathe,  Kans.  He 
has  black  hair,  brown  eyes,  is  6  feet  tall 
and  weighs  165  pounds.  "Safety  in 
Numbers"  and  "Young  Eagels"  are  his 
newest  pictures.  Janet  Gaynor  and  Charlie 
Farrell  are  one  of  the  most  popular  co- 
starring  teams  in  films.  Janet  was  born 
October  6,  1907,  in  Philadelphia,  Pa.  She 
has  auburn  hair,  brown  eyes,  is  a  trifle  over 
5  feet  and  weighs  100  pounds.  She  was 
married  to  Lydell  Peck,  a  San  Francisco 
lawyer,  on  September  11,  1929. 

Helen  from  Colfax,  Iowa.  What  a  wow 
Lawrence  Gray  has  turned  out  to  be  since 
he  has  learned  to  talk  and  sing.  He  plays 
with  Marion  Davies  in  "Marianne"  and  in 
"Spring  is  Here"  with  Bernice  Claire, 
Alexander  Gray  and  Louise  Fazenda. 
Address  him  Metro-Goldwyn-Mayer  Studios, 
Culver  City,  Cal.  Lawrence  was  born  July 
27,  1898,  in  San  Francisco,  Cal.  He  has 
brown  hair,  blue-green  eyes,  is  5  feet  10 
inches  tall  and  weighs  170  pounds.  He  is 
not  married.  You  can  write  Paddy  O'Flynn 
at  Box  386,  Hollywood,  Cal. 

Lena  O.  of  Raymondville,  Tex.  Lest  we 
for  one  moment  forget  the  ages  of  our 
favorites,  here  you'll  find  that  Ramon 
Novarro  is  30,  George  O'Brien  is  29,  Dick 


Arlen  is  31,  Clive  Brook  is  39  and  Gary 
Cooper  is  29.  Kenneth  Thompson  was  born 
January  7,  1899,  in  Pittsburgh,  Pa.  He 
has  black  hair,  brown  eyes  and  is  5  feet 
11  inches  tall.  He  is  married  to  Alden 
Gay,  an  actress. 

Bar  of  Omaha,  J^ehr.  I'm  in  the  biggest 
giggle  of  the  month  over  the  many  com- 
pliments received  for  this  department.  Come 
again  with  another  load,  we  like  them. 
Mary  Brian  is  21,  Florence  Vidor  is  34, 
Evelyn  Brent  is  30,  Greta  Garbo  is  23, 
Audrey  Ferris  is  20,  Billie  Dove  is  27, 
Doris  Dawson  is  21,  Barbara  Kent  is  21, 
and  Norma  Shearer  is  25.  Evelyn  Brent, 
whose  real  name  is  Betty  Briggs,  is  the 
wife  of  Harry  Edwards,  a  director. 

/.  R.  of  St.  Louis.  I  have  the  grandest 
time  trying  to  arrange  get-together  meet- 
ings of  long  lost  friends  of  the  picture  stars. 
More  fun!  John  Boles  please  step  up  and 
be  identified  as  one  of  the  lost  boy-hood 
friends.  This  golden-voiced  singer  of  the 
screen,  was  born  on  Oct.  28,  1900,  in 
Greenville,  Texas.  He  is  6  feet  1  inch 
tall,  weighs  180  pounds  and  has  grey-blue 
eyes  and  brown  hair.  John  graduated  from 
the  University  of  Texas  as  a  physician  but 
the  World  War  changed  his  plans.  At  the 
close  of  the  war,  he  returned  to  Texas  to 
become  a  cotton  grower  but  again  changed 
his  plans  for  he  was  advised  to  go  to  New 
York  to  study  music.  Lucky  break  for  the 
fans,  for  his  success  means  pleasure  to  his 
many  admirers.  He  is  married  to  a  pretty 
Southern  girl  and  they  have  a  two-year-old 
daughter. 

Mrs.  R.  E.  J.  of  Atlanta,  Ga.  John  Gil- 
bert's first  talking  pictures  were,  "His 
Glorious  Night"  and  "Redemption."  To 
give  you  all  of  his  screen  plays  would 
take  too  much  space,  but  as  far  as  I  know 
he  did  not  appear  in  the  film  you  ask  about. 
"St.  Elmo"  was  a  1923  Fox  release. 

Mae  J.  of  Indianapolis.  You  need  cheer- 
ing up  a  bit,  do  you?  All  right,  let's  give 
three  cheers  and  a  rah-rah!  Colleen  Moore 
and  John  McCormick  were  married  in  1923. 
Rod  La  Rocque  was  christened  Roderique 
La  Rocque.  He  is  the  husband  of  Vilma 
Banky.    John  Mack  Brown  uses  his  own 


Mr.  and  Mrs.  George  Fawcett.  George  can  hold  his  own  with  any  of  the 
younger  players  for  popularity  according  to  Miss  Vee  Dee's  statistics. 


for    September  1930 


103 


name  in  films.  He  was  born  Sept.  1,  1904, 
in  Dothan,  Alabama,  is  married  and  has  a 
young  daughter.  Lon  Chaney's  first  talk- 
ing picture  is  "The  Unholy  Three."  You 
can  write  him  at  Metro-Goldwyn-Mayer 
Studios,  Culver  City,  Cal. 

Patricia  from  La\e  Charles,  La.  What 
do  I  do  with  my  evenings  these  days? 
Who  wants  to  know?  Edward  Martindel's 
real  name  is  just  that.  He  was  born  in 
Hamilton.  Ohio,  but  doesn't  say  when.  He 
has  grey  hair,  blue  eyes,  is  6  feet  1%  inches 
tall  and  weighs  190  pounds.  Before  going 
into  pictures  in  1917,  he  was  in  a  musical 
comedy  in  Victor  Herbert's  operas,  also  in 
vaudeville  and  has  appeared  as  an  oratorio 
and  concert  singer.  His  latest  pictures  are 
"The  Aviator"  with  Edward  Everett  Horton 
and  Patsy  Ruth  Miller  and  in  "Song  of 
the  West"  with  John  Boles,  Vivienne  Segal 
and  Joe  E.  Brown,  both  Warner  Bros,  pre 
ductions. 

A  Fan  from  7^ew  Orleans.  Stand  by 
for  the  newsreel  of  addresses  and  listen 
carefully  for  they'll  not  appear  again  for 
another  month.  Janet  Gaynor,  Fox  Studios, 
1401  No.  Western  Ave.;  Barry  Norton, 
Paramount  Studios,  5451  Marathon  St.,  all 
Hollywood,  Cal.,  studios.  John  Gilbert  and 
Conrad  Nagel,  Metro-Goldwyn-Mayer  Stu- 
dios.  Culver  City,  Cal.  Billie  Dove,  First 
National  Studios,  Burbank,  Cal. 

Billy  Haines  Fan  from  Miluiau\ee.  I  can 
deliver  all  kinds  of  messages  to  the  stars 
but  a  bear  hug  is  quite  out  of  my  line; 
however,  if  you  insist,  I'll  see  what  can 
be  done  about  it.  Since  appearing  in  Metre 
Goldwyn-Mayer's  "Hollywood  Revue  of 
1929,"  William  Haines  has  made  "Navy 
Blues"  with  Anita  Page  and  "The  Girl 
Said  No"  with  Leila  Hyams,  Polly  Moran, 
Marie  Dressier,  William  Janney  and  Francis 
X.  Bushman,  Jr.  Polly  Moran  was  born  in 
Chicago,  111.  She  has  brown  hair,  blue 
eyes,  is  5  feet  4  inches  tall  and  weighs 
134  pounds.  Polly  has  traveled  all  over 
the  globe,  playing  in  musical  comedy  and 
in  vaudeville  until  1915,  when  she  appeared 
with  Charlie  Murray  in  "The  Janitor." 
She  and  her  mother  live  in  Hollywood  with 
Polly's  adopted  son. 

Alice  P.  of  Chicago.  Do  I  have  any  fan 
clubs  in  my  honor?  Lack-a-day  and  other 
forms  of  hey-hey.  Somebody  would  ask 
that.  Your  favorite,  Walter  Byron,  was 
born  June  11,  1902,  in  Leicester,  England. 
He  has  brown  hair,  dark  blue  eyes,  is  6 
feet  tall  and  weighs  163  pounds.  He  is 
not  married.  Walter's  family  have  been 
actors  for  over  two  hundred  years  in  con- 
tinuous  succession  from  his  great,  great 
grand-father.  His  father  is  George  Butler, 
the  English  comedian,  and  his  mother,  Dulcie 
Lawrence,  was  a  prominent  leading  lady 
until  her  retirement  from  the  stage  a  few 
years  ago.  His  first  American  film  was 
"The  Awakening"  with  Vilma  Banky.  His 
latest  release  is  "Not  Damaged"  with  Lois 
Moran,  Inez  Courtney  and  Robert  Ames. 

Duncan  C.  G.  of  Broc\ville,  Ontario.  Of 
course  you  can  write  to  Greta  Garbo  for 
an  autographed  photograph  but  I  can't 
promise  you'll  hear  from  her  personally — 
address  her  at  Metro-Goldwyn-Mayer  Stu- 
dios, Culver  City,  Cal.,  and  await  results. 
Her  first  talkie  was  "Anna  Christie"  with 
Marie  Dressier,  Charles  Bickford  and  George 
Marion.  Her  next  picture  will  be  "Ro- 
mance" with  Gavin  Gordon  from  the  stage. 
He  has  dark  hair,  grey  eyes  and  was  born 
in  Chicora,  Miss. 


La  Ray  of  Tenn.  Do  I  like  to  answer 
questions?  I  just  haven't  got  the  heart  to 
tell  you,  you  big  tease.  Sally  Blane  is  on 
the  pay  roll  at  RKO  Studios,  780  Gower 
St.,  Hollywood,  Cal.  Fay  Wray  is  the 
wife  of  John  Monk  Saunders,  the  author 
and  screen  writer.  You  can  reach  Fay  and 
Mary  Brian  at  Paramount  Studios,  5451 
Marathon  St.,  Hollywood,  Cal.  Billie  Dove 
wears  her  hair  in  a  shoulder-length  bob. 
I  believe  she  has  a  brother  in  the  picture 
industry  but  not  as  an  actor.  Jean  Arthur 
has  been  married  and  divorced  but  has  no 
children. 

Cleo  C.  of  Boardman,  Mich.  Does  it 
take  so  much  courage  to  write  me?  I'm 
an  honest-to-goodness  fan,  like  the  rest  of 
'us  girls,'  so  don't  hesitate  but  write  again. 
Clara  Bow's  real  name  is  Clara  Gordon 
Bow — she  hasn't  any  brothers  or  sisters — 
she's  the  one  and  only  Bow.  She  has 
been  engaged  several  times  but  always 
changed  her  mind  about  matrimony.  She 
was  born  July  29,  1905,  in  Brooklyn,  N.  Y. 
Her  eyes  are  agate  brown  and  her  hair 


Buddy   Rogers   again!    Buddy  is 
the  eternal  favorite  with  Miss  Vee 
Dee's  friends. 


is  red.  I  don't  know  her  home  address 
but  you  can  reach  her  at  Paramount  Studios, 
5451  Marathon  St.,  Hollywood,  Cal. 

Dons  W.  of  Chehalis,  Wash.  Dispell- 
ing gloom  is  a  pet  hobby  of  mine — here 
you  see  the  joy  lady  of  the  future,  if  the 
future  is  lucky.  Before  going  into  pictures, 
Alice  White  was  Alva  White.  You  can 
reach  her  at  First  National  Studios,  Bur- 
bank,  Cal.  Her  latest  pictures  are,  "Show 
Girl  in  Hollywood"  with  Blanche  Sweet, 
Jack  Mulhall  and  Ford  Sterling;  and  "Play- 
ing Around"  with  Marion  Byron.  Chester 
Morris  and  William  Bakewell.  You  may 
not  recognize  your  favorites  among  the 
following,  but  here  they  are;  Betty  Riggs, 
Lucille  Le  Suer,  John  Pringle,  Douglas  Ull- 
man,  Anita  Pomares,  Gladys  Marie  Smith, 
Virginia  Sweeney,  James  Brown,  Joseph 
Francis  and  Lewis  D.  OfEeld.  Gather 
around  next  month  and  I  may  tell  you 
who  they  are. 

Cass  from  Camden,  N..  ].  I  nominate 
you  for  the  shortest  letter  writer  of  the 


month — four  lines,  but  what  lines!  William 
Haines  was  born  Jan.  1,  1900,  in  Staunton, 
Va.  He  uses  his  own  name  on  the  screen. 
He  has  two  sisters,  Ann  and  Lillian.  His 
next  picture  will  be  "Easy  Going." 

Kay-Kay  from  Baldwin,  L.  I.  You  de- 
serve a  swell  answer  after  the  grand  praise 
you  hand  me — I  can  stand  any  amount  of 
it,  that  or  those.  Joan  Crawford  and 
Douglas  Fairbanks,  Jr.  were  married  in  New 
York  City,  on  June  3,  1929.  Nils  Asther 
is  29  years  old,  weighs  170  pounds,  is  6 
feet  %  inch  tall  and  has  black  hair  and 
brown  eyes.  He  appears  in  "The  Sea  Bat" 
with  Charles  Bickford  and  Raquel  Torres. 
You  can  write  him  at  Metro-Goldwyn- 
Mayer  Studios,  Culver  City,  Cal.  Irene 
Rich,  Frank  Albertson  and  Maureen  O'Sul- 
livan  play  with  Will  Rogers  in  "So  This 
is  London."  Maureen  came  over  from 
Ireland  to  play  in  John  McCormick's  pic- 
ture, "Song  o'  My  Heart." 

Rose  Sie  from  St.  Louis.  Will  I  do  a 
little  girl  a  great  big  favor?  Can  you 
feature  me  refusing  a  little  girFs  favor 
when  she  asks  so  prettily?  The  song  played 
and  sung  throughout  the  picture,  "Sub- 
marine," was  Pals.  Ask  your  music  dealer 
for  a  copy  of  the  song.  Jack  Holt,  Ralph 
Graves  and  Dorothy  Revier  were  the  prin- 
cipals in  the  cast. 

Ella  R.  of  Canandaigua,  7\-  ¥•  Do  I 
think  Gary  Cooper  has  a  cute  grin?  Shh- 
shh!  Don't  breathe  it  to  a  living  soul  but 
if  I  had  that  contagious  grin  of  Mr.  Cooper's, 
what  would  I  do  with  it?  Esther  Ralston 
played  the  lead  in  "Fashions  for  Women." 
Sue  Carol  gets  her  fan  mail  at  RKO  Stu- 
dios, 780  Gower  St.,  Hollywood,  Cal.  Her 
latest  pictures  are,  "The  Golden  Calf"  and 
"Dancing  Sweeties."  Nancy  Carroll  is 
appearing  in  the  best  picture  of  her  career 
— "The  Devil's  Holiday"  with  Phillips 
Holmes,  Hobart  Bosworth  and  James  Kirk- 
wood.  Josephine  Dunn  plays  with  Charles 
Rogers  in  "Safety  in  Numbers."  Betty 
Compson  and  Nena  Quartaro  play  in  "Isle 
of  Escape"  with  Monte  Blue.  Nena  was 
christened  Gladys  Quartaro.  She  was  born 
March  17,  1910,  in  New  York  City.  She 
has  black  hair  and  eyes  and  is  5  feet  3 
inches  tall. 

Joseph  B.  of  Jeffersonville,  Ind.  Some 
task  you've  given  me  to  dig  out  the  first 
pictures  of  all  the  stars.  To  comply  with 
that  request,  would  mean  a  special  issue 
of  the  magazine  but  here  are  a  few  of 
them.  Bebe  Daniels'  first  screen  work  was 
with  Harold  Lloyd  in  "Lonesome  Luke"' 
comedies.  Conrad  Nagel  in  "The  Fighting 
Chance"  for  Lasky  in  1920.  Hoot  Gibson 
in  "Hazards  of  Helen"  for  Selig-Kalem  in 
1911.  Clara  Bow  in  "Down  to  the  Sea 
in  Ships"  in  1923.  Myrna  Loy  in  "What 
Price  Beauty,"  a  film  made  by  Natacha 
Rambova,  the  wife  of  Rudolph  Valentino. 
Barry  Norton  appeared  as  an  extra  in  "The 
Black  Pirate,"  starring  Douglas  Fairbanks. 
Richard  Arlen  in  "In  the  Name  of  Love" 
in  1925.  Nancy  Carroll  in  "Ladies  Must 
Dress"  in  1927.  Laura  La  Plante  in  Christie 
Comedies  in  1919. 

ferry  of  Toledo,  Ohio.  Another  booster 
for  Screenland,  are  you?  Up  and  up 
we  go,  just  watch  us.  Gary  Cooper  was 
born  May  7,  1901,  in  Helena,  Mont.  He 
is  6  feet  2  inches  tall  and  has  dark  brown 
hair  and  blue  eyes.  Real  name,  Frank  J. 
Cooper.  Clive  Brook  was  39  years  old  on 
June  1.  He  is  5  feet  11  inches  tall  and 
has  brown  hair  and  grey  eyes.     You  can 


104 


SCREENLAND 


address  Gary  Cooper  and  Clive  Brook  at 
Paramount  Studios,  5451  Marathon  St., 
Hollywood,  Cal. 

Genevieve  from  Springfield,  Mass.  The 
producers  do  not  always  agree  with  the 
fans  on  the  selection  of  co-starring  teams 
— we  take  'em  or  leave  'em  and  we  usually 
take  them,  don't  we?  Nancy  Carroll  played 
with  Charles  Rogers  in  one  film,  "Abie's 
Irish  Rose."  Nancy  is  the  wife  of  Jack 
Kirkland  and  they  have  a  four  year  old 
daughter,  Patricia.    Nancy  is  23  years  old. 

Miss  La  Rue  of  Pough\eepsie.  Reginald 
Denny  was  born  in  Richmond,  Surrey,  Eng- 
land, but  he  doesn't  give  the  date.  He  has 
brown  hair,  blue  eyes,  is  6  feet  tall  and 
weighs  178  pounds.  His  wife  is  Betsy  Lee, 
a  professional.  He  entered  pictures  in  1919. 
Robert  Castle  was  born  in  Frankfort-on- 
Main,  Germany.  He  is  6  feet  2V2  inches 
tall,  weighs  175  pounds  and  has  dark 
brown  hair  and  eyes.  You  can  write  him 
at  Paramount  Studios,  5451  Marathon  St., 
Hollywood,  Cal. 

]ac\  R.  of  Los  Angeles.  A  bouquet  of 
compliments  for  Screenland  via  the  V.  D. 
route.  No,  I  never  get  any  brick-bats,  I 
always  dodge  them.  Gloria  Swanson  is  5 
feet  IV2  inches  tall,  weighs  112  pounds  and 
has  dark  brown  hair  and  blue  eyes.  Her 
latest  release  is  "What  a  Widow!"  with  Lew 
Cody  and  Owen  Moore.  Mae  Murray  was 
born  May  10,  1893.  She  has  blonde  hair, 
blue  eyes,  is  5  feet  4  inches  tall  and  weighs 
110  pounds.  Her  husband  is  Prince  David 
Mdivani.  They  have  a  young  son,  born 
in  May,  1927. 

Ohio  Sue  from  Bethel.  You're  a  regular 
question  box  and  I'm  the  answer  specialist, 
so  that  makes  us  both  'regular  fellows.' 
James  Hall  is  29  and  Ramon  Novarro  is 
30  years  old.  I  haven't  been  notified  of 
any  engagement  or  marriage  of  either  gentle- 
man. Anita  Page  was  born  in  Flushing, 
L.  I.,  about  20  years  ago.  Her  first  screen 
appearance  was  with  William  Haines  in 
"Telling  the  World."  Marion  Davies  is 
30  and  Greta  Garbo  is  23  years  old. 

Daring  from  Ft.  Stoc\ton,  Texas.  The 
big  heart-throb  from  the  Lone  Star  State. 
You  know  how  to  pick  your  favorites  but 
what  do  you  want  to  know  about  them? 
Rin-Tin-Tin  is  barking  his  way  through 
pictures  with  his  usual  cleverness.  His 
latest  is  "On  the  Border"  with  Armida, 
Walter  Miller  and  Philo  McCullough. 

Violet  of  State  College,  Pa.  Do  screen 
stars  ever  write  letters  to  the  fans?  That 
question  disturbs  me  frightfully,  but  I  can 
only  repeat,  dust  off  the  desk,  take  pen 
in  hand,  either  right  or  left,  dash  off  the 
lines  nearest  your  heart  and  hope  for  the 
best.  Clara  Bow's  hair  is  red  and  when  I 
say  red,  I  mean  RED.  Alice  White  was 
23  years  old  on  August  28.  She  has  blonde 
hair,  brown  eyes,  is  5  feet  2  inches  tall 
and  weighs  110  pounds.  Her  next  picture 
will  be  "The  Widow  from  Chicago." 

feannine  of  Baltimore.  This  comes  to 
you  through  the  courtesy  of  station  Vee- 
Dee,  so  here  you  are,  or  are  you?  Nils 
Asther's  given  name  is  pronounced  with 
the  e's  long — Neels.  You  can  reach  him 
at  Metro-Goldwyn-Mayer  Studios,  Culver 
City,  Cal.  John  Mack  Brown  is  25  years 
old  and  is  married  to  his  college  sweet- 
heart, a  pretty  southern  girl.  Very  roman- 
tic, isn't  it? 

Frances  L.  from  West  Medford,  Mass. 


You  just  had  to  write  me,  did  you?  I 
know  how  you  feel;  somebody  has  to  get 
the  good  breaks  and  why  not  you?  Roland 
Drew's  real  name  is  Walter  Goss.  He  was 
born  in  Elmhurst,  L.  I.,  in  1903.  He  is 
6  feet  tall,  weighs  165  pounds  and  has 
black  hair  and  dark  grey  eyes.  You  can 
address  him,  Tec-Art  Studios,  Edwin 
Carewe  Productions,  Hollywood,  Cal. 

Maragaret  S.  of  Birmingham,  Mich.  So 
you've  had  your  eyes  on  me,  have  you? 
I  may  not  be  the  fisherman's  daughter  but 
I  can  throw  a  wicked  line.  You  may  address 
Harold  Lloyd  at  6640  Santa  Monica  Blvd., 
Hollywood,  Cal.  Doris  Kenyon  and  Milton 
Sills  at  First  National  Studios,  Burbank,  Cal. 
Little  Wheezer  is  Bobby  Hutchens  in  real 
life.  He  was  born  March  29,  1925,  in 
Tacoma,  Wash.  He  made  his  screen  debut 
at  the  age  of  21  months.  You  can  write 
him  in  care  of  Hal  Roach  Comedies,  Culver 
City,  Cal.  Edmund  Lowe  can  be  reached 
at  Fox  Studios,  1401  No.  Western  Ave., 
Hollywood,  Cal. 

Florence  D.  of  Sturgeon  Falls,  Oregon. 
No.  I  don't  think  the  whole  world  revolves 
around  me — I  never  taste  the  stuff.  Ken 
Maynard  was  born  July  21,  1895,  at  Mission, 
Texas.  He  attended  school  at  Columbus, 
Ohio,  but  later  entered  the  Virginia  Mili- 
tary Institute,  from  which  he  graduated  at 
the  age  of  18  with  a  degree  in  civil  engi- 
neering. His  love  of  riding  caused  him 
to  give  up  his  chosen  profession  to  join 
the  Hagenbeck- Wallace  Circus  as  a  trick 
rider.  He  became  famous  for  his  daring 
stunts  and  won  the  world  championship 
for  trick  riding  and  roping  in  1920.  While 
touring  the  country  with  Ringling  Brothers 
Circus  in  1922,  he  decided  to  try  motion 
pictures.  Ken  is  happily  married  to  a  non- 
professional. He  is  6  feet  tall,  weighs  180 
pounds  and  has  black  hair  and  steel  grey 
eyes.  You  can  write  him  at  Universal 
Studios,  Universal   City,   Cal.     His  latest 


release  is,  "The  Fighting  Legion,"  with 
Dorothy  Dwan. 

Banjo  Eyes  from  Tiew  Jor\.  Don't  tell 
me  there  isn't  anything  new  under  the  sun 
— with  eyes  like  that,  you  should  go  far 
but  not  too  far.  Buck  Jones  was  born  in 
Vincennes,  Indiana,  about  40  years  ago. 
He  is  5  feet  11%  inches  tall,  weighs  173 
pounds  and  has  brown  hair  and  grey  eyes. 
Johnny  Walker  was  born  in  New  York 
City  but  doesn't  mention  the  year.  He  has 
black  hair,  brown  eyes,  is  5  feet  11  inches 
tall  and  weighs  160  pounds.  Address  him 
at  Columbia  Studios,  1438  Gower  St.,  Hol- 
lywood, Cal.  Nick  Stuart's  real  name  is 
Nickolas  Prata.  He  was  born  April  10, 
1904,  in  Abrud,  Roumania.  He  has  black 
wavy  hair,  snapping  dark  eyes  and  a  never 
failing  grin. 

Miss  G.  from  Olathe,  Kansas.  From  the 
old  home  town  of  America's  Big  Boy 
Friend,  Buddy  Rogers,  just  as  sure  as  I 
live!  You  can  address  Donald  Reed  at 
First  National  Studios,  Burbank,  Cal.  Ben 
Lyon  at  Columbia  Studios,  1438  Gower  St., 
Hollywood,  Cal.  June  Collyer  appears  in 
"Mile.  Modiste"  for  First  National  Studios. 

Mrs.  Charles  E.  J.  of  Philadelphia.  Sally 
Blane  was  born  in  Salida,  Colo.,  on  July 
11,  1910.  She  played  with  Rudy  Vallee 
in  "The  Vagabond  Lover."  Don  Alvarado 
was  christened  Jose  Paige.  His  mother 
was  Marie  Antoinette  Alvarado  and  his 
father,  Candido  Paige.  Olive  Borden  plays 
with  Jack  Oakie  and  Skeet  Gallagher  in 
"The  Social  Lion." 

B.  B.  from  Quebec.  As  the  picture  pro- 
ducing companies  employ  large  staffs  of 
scenario  writers,  it  would  be  very  difficult 
for  an  outsider  to  get  a  break  with  them. 
Dolores  Del  Rio  may  be  reached  at  United 
Artists  Studios,  1041  No.  Formosa  Ave., 
Hollywood,  Cal.  She  appears  with  Edmund 
Lowe  in  "The  Bad  One." 


What  price  realism?   Joan  Bennett  and  Bill  Banker,  football  star  from 
Tulane  University,  had  to  be  upset  from  a  canoe  for  a  scene  from 
"Maybe  It's  Love."    Note  the  microphone,  camera  and  props. 


for    September  1930 


105 


wwet  tAe4/L  CioiE-up  Test 

7  7„« 


NOW  .  .  .  the  close-up!  Eager 
eyes  admiring . . .  pulses  quick- 
ening .  .  .  hearts  irresistibly  won  .  .  . 
The  acid  test  of  beauty,  45  Holly- 
wood directors  declare,  is  the  close- 
up— taken  under  a  cruel,  revealing 
blaze  of  light.  A  test,  they  have 
found,  which  only  the  girl  with 
flawless  skin  can  pass! 

That  is  why  complexion  beauty  is 
all-important  to  the  stars  whose 


beauty  thrills  thousands  . .  and  to  you. 

For  you,  too,  have  a  close-up  test 
to  pass!  Admiring  eyes  close  to  you 
must  find  your  skin  radiantly,  softly 
smooth.  You  will  want  to  guard 
skin  beauty  just  as  the  lovely  stars  do! 

In  Hollywood,  of  the  521  im- 
portant actresses,  511  use  Lux  Toilet 
Soap!  On  Broadway,  too,  and  even 
in  Europe  the  stars  are  devoted  to 
this  fragrant  white  soap. 


YOU  must  face  eager  eyes  close  to 
your  skin.  This  is  YOUR  close-up  test. 

Pictured  Above:  1.  Dorothy  Mac- 
kaill  2.  Mary  Brian  3.  Evelyn  Brent 
4.  Olive  Borden  5.  Clara  Bow  6.  Alice 
White  7.  Janet  Gaynor  8.  Bebe  Daniels 
9-  Marion  Davies  10.  Armida  11.  Ruth 
Chatterton  12.  Anita  Page  13.  Joan 
Crawford  14.  Nancy  Carroll. 


98%  of  the  lovely  complexions  you  see  on  the 
screen  and  radiant  skin  of  lovely  girls  every- 
where are  kept  exquisite  with  


Lux  Toilet  Soap  -  lO 


106 


LETTERS  FROM  THE  AUDIENCE 


SCREENLAND 

Continued  from  page  12 


world,  in  fact.  I  imagined  that  until  I 
could  achieve  such  a  trip  the  barrier  of  re- 
moteness would  always  exist  between  me 
and  the  countries  I  wanted  so  much  to 
see.  Silent  movies,  of  course,  did  much  to 
bring  to  us  the  habits  and  customs  of 
foreign  people  and  of  all  people  living  in 
a  sphere  different  from  mine.  But  when  I 
heard  my  first  sound  picture — a  newsreel, 
with  von  Hindenburg  officiating  at  the  cere- 
mony of  launching  the  Bremen,  and  heard 
him  speak  in  German,  I  felt  a  sense  of  the 
nearness  of  the  countries  which  seemed  to 
be  so  entirely  separated  from  me;  and  knew 
that  even  if  my  cherished  hope  of  actually 
going  abroad  could  not  be  realized,  the 
world  could  be  brought  to  me  with  every 
phase  of  reality,  through  the  sound  picture. 

Miss  Bertha  Hirt, 
62?,  318  W.  9th  Street, 

Los  Angeles,  Cal. 

Bouquets  for  Stage  Players 

The  stage  and  screen  have  met,  and  who 
can  say  it  has  not  been  a  success?  After 
seeing  Garbo  and  Bickford  in  "Anna 
Christie'"  in  stark  drama,  Bessie  Love  and 
Charles  King  in  musical  comedy,  Marie 
Dressier  and  William  Haines  in  the  lightest 
of  nonsense,  we  must  admit  that  stage 
training  has  its  uses.  , 

Never  once  do  Marie  Dressier,  Mr.  Bick- 
ford or  Mr.  King  make  an  awkward  or  self- 
conscious  move.  Each  gesture  is  graceful 
and  expressive.  The  talkies  have  been 
immeasurably  helped  by  these  experienced 
people  who  alone  know  the  trick  of  putting 
a  world  of  expression  into  an  ordinary 
sentence  with  the  flexing  of  their  voices. 
Ruth  Chatterton  expresses  much  with  the 
mere  lift  of  her  voice;  while  in  Miss  Garbo's 
scenes  with  Mr.  Bickford  one  could  almost 
feel  his  strong  personality  lifting  and  carry- 
ing her  to  a  display  of  emotion  never  before 
seen  in  the  'Swedish  icicle.' 

With  the  event  of  the  talkies,  gone  are 
the  set  faces  and  barely  moving  lips  of  the 
male  and  female  beauties  of  the  screen  of 
yesterday,  and  surely  we  can  now  look  for- 
ward to  living,  emotional  portrayals  of  the 
various  roles. 

Miss  Thistle  Bell, 
Chestertown,  Md. 

Study  at  the  Movies ! 

My  greatest  interest  is — people.  Human 
beings.  How  they  live  and  think.  And 
why.  The  similar  points  of  all.  The  inter- 
esting variations  of  the  individual.  The 
movies  offer  a  study  of  mankind.  How 
.  else  can  one  person  possibly  become  inti- 
mately acquainted  with  such  a  cosmopolitan 
group?  How  can  I,  in  my  little  home  town, 
know  the  dreams  and  despairs  of  an  Anna 
Christie,  the  philosophical  reasonings  of  a 
Disraeli,  or  the  mystery  of  that  divine  lady, 
Emma  Hamilton7 

In  literature  we  can  find  these  people. 
But  many  will  never  read  and  find  them 
there,  who  will  see  and  hear  them  in  the 
movies.  To  those  who  read,  the  movies 
bring  their  favorite  characters  in  real  form. 
They  see  and  hear  and  learn  to  know  them 
better. 

Interesting  phenomena — people.  Too 
common  to  be  really  understood! 

Ethelyn  M.  Kennon, 
1024  N.  Clay  Avenue, 

Springfield,  Mo. 

What's  the  Answer? 

I  want  to  express  my  appreciation  of 
"Lummox,"  the  story  for  which  was  so  well 


Meet  the  exciting  lamp.    One  of  the  895  parts  in  a  Western  Electric 
sound  projector  system.    And  imagine  Greta  Garbo,  Clara  Bow  or 
Nancy  Carroll  without  it! 


written,  so  well  produced  that  I  find  it  hard 
to  think  only  in  the  terms  of  the  artists 
behind  this  wonderful  production. 

Fannie  Hurst  is  a  wonderful  character 
author.  She  describes  each  movement  of 
the  character  so  well  that  one  can  see  the 
person;  and  Herbert  Brenon  is  a  great 
director  because  he  put  on  the  screen, 
making  her  a  living  reality,  the  same  mas- 
terful character  that  Fannie  Hurst  wrote 
about. 

Winifred  Westover,  Ben  Lyon  and 
Dorothy  Janis  were-  all  superb  in  their 
characterizations. 

Now  I  get  back  to  the  same  old  ques- 
tion. Why  don't  we  have  more  of  these 
perfect  productions?  Can  it  be  that  not 
enough  people  want  them? 

Isabelle  W.  Jordan, 
17181  Pontchartrain  Blvd., 

Detroit,  Mich. 


The  Art  of  Being  Natural 

To  me,  the  outstanding  feature  of  Rich- 
ard Barthelmess'  art  is  his  entire  natural- 
ness. As  the  Chinamen  in  "Broken 
Blossoms"  and  "Son  of  the  Gods,"  the 
swash-buckling  soldier  in  "The  Fighting 
Blade,"  the  crippled  soldier  in  "The  En- 
chanted Cottage,"  the  pugilist  in  "The 
Patent  Leather  Kid,"  or  as  the  wistful, 
dreaming  elevator  operator  in  "Young 
Nowhere,"  he  is  always  natural.  He  seems 
to  live  the  character  he  portrays  and  never 
bedecks  it  with  tricks  of  the  theater,  un- 
natural manners  or  gestures.  He  even  is 
careful  how  he  dresses  his  characters.  If 
they  are  drab,  then  they  must  be  dressed 
drably.  If  they  are  romantic  they  must 
be  so  garbed.  He  takes  no  license  in  order 
to  win  his  audience.  Richard  Barthelmess, 
my  favorite  actor. 

W.  C.  Young, 
193?  Grand  Avenue, 

Granite  City,  111. 


A  Tribute  to  "Hallelujah" 

Talking  pictures  have  finally  achieved 
what  silent  films  would  never  have  at- 
tempted, a  fine  and  moving  story  of  the 
negro  race. 

"Hallelujah,"  to  me,  is  a  great  picture — 
a  monumental  story  of  the  American  negro 
told  with  feeling,  understanding,  good 
taste,  dignity  and  artistic  sincerity.  Watch- 
ing Daniel  Haynes  and  others  of  this 
splendid  cast  they  seem  to  be  not  really 
acting  at  all,  but  actually  feeling  and  ex- 
periencing the  emotions  they  were  seeking 
to  portray. 

The  drama  and  humor  of  the  colored  race 
are  shown  in  "Hallelujah,"  and  it  is  as 
absorbing  as  it  is  picturesque.  It  is  one 
of  the  greatest  dramas  ever  made  and  surely 
will  be  ranked  among  the  outstanding  pro- 
ductions of  the  singing-talking  screen. 

Ernest  Crum, 
2401  Edwards  St., 
Granite  City,  111. 

Too  Many  Theme  Songs? 

I  cannot  resist  the  temptation  to  express 
my  disapproval  of  certain  phases  of  our 
'new'  talkies. 

Is  it  absolutely  necessary  that  a  person 
in  love  should  sing  to  the  member  of  the 
opposite  sex  in  order  to  make  it  effective? 
In  my  estimation,  theme  songs  injected  in 
love  scenes  spoil  the  picture  built  up  in 
a  person's  mind.  It  is  not  true  to  life  and 
destroys  the  value  of  the  play. 

I  witnessed  a  performance  of  "Montana 
Moon"  a  few  nights  ago  and  thought  it 
especially  good.  Here,  the  story  was  the 
thing. 

We  are  getting  too  many  pictures  just 
alike.  Who  cares  to  see  a  group  of  girls 
dance  in  every  time  the  curtains  are  drawn? 
I,  for  one,  am  getting  fed  up  on  it — and 
plenty!  John  B.  Lemaire, 

2   Oak  Street, 

Pana,  111. 


for    September  1930 


107 


"Every  Screen  Star  in  Hollywood 

Knows  the  Magic  YSeauty  Secret  of 

UP 

In  COLOR  Harmony 


M Knows  the  magic  B 
AKE 


You,  yourself,  may  now  learn  how  to  double 
your  beauty  and  vividly  accent  your  per- 
sonality .  .  .  from  Hollywood' 's  Genius 
K    of  Make- Up,  Max  Factor. 

C  I  "\0  you  want  new  beauty  .  .  .  new  magnetism  of  personality 
JLx  .  .  .  new  fascination  .  .  .  quickly,  almost  instantly  .  .  . 
then  listen  to  this  message  from  Hollywood  .  .  .  learn  about 
the  one  make-up  that's  used  in  all  the  famous  motion  picture 
studios;  by  all  the  glorious  stars  who  have  entranced  you 
L      with,  their  loveliness  .  .  .  discover  why  beauty  is  always 
I A      perfect  in  every  picture  released  from  Hollywood. 

^sk   A  discovery  by  Max 

Factor,  Hollywood's 
genius  of  make-up,  revo- 
lutionized  the  use  of 
cosmetics  in  filmland. 
Make-Up  to  really  work 
wonders  in  creating  and 
enhancing  beauty  must 
be  in  color  harmony  .  . . 
Cosmetics  must  blend 
perfectly  in  the  make-up 
ensemble.  OfF-colorsruin 
beauty  .  .  .  often  produce 
unattractive,  grotesque 
effects.  All  this  Max 
Factor  learned  in  his 
work  with  motion  pic- 
ture stars  during  twenty 
odd  years. 


Then  came  the  revolutionary  idea  . . . 
face  powder,  rouge,  lipstick,  eye  shadow 
and  other  make-up  requisites  ...  all  in 
color  harmony  to  blend  with  the  com- 
plexion colorings  of  each  individual 
type,  whatever  the  variation  in  blonde, 
brunette,  brownette  or  redhead.  And 
each  color  tone  in  each  cosmetic  cre- 
ated to  some  living  type  ...  to  harmonize 
with  such  matchless  beauty  as  typified  by 
Joan  Crawford,  Anita  Page,  Billie  Dove. 

Imagine  what  amazing  new  beauty 
this  discovery  means  to  you  . .  .and  now 
you  may  share  Hollywood's  make-up 
secret,  for  in  Society  Make-Up,  Max 
Factor  has  created  powder,  rouge,  lip- 
stick, eyeshadow  and  other  requisites  for 
every  woman,  for  every  day,  based  on 
his  famous  discovery,  cosmetic  color 
harmony.  A  sensation  in  Hollywood  . . . 
it  will  be  a  beauty  revelation  to  you. 

And  you  may  have  your  own  indi- 
vidual color  harmony  in  Society  Make- 
Up  charted  for  you  by  Max  Factor  .  .  . 
who  will  analyze  your  complexion,  and 
tell  you  personally  how  to  make  the 
most  of  your  own  natural  beauty;  how 
to  reveal  the  alluring  charm  and  fasci- 
nation you  have  admired  and  longed  for. 
Accept  this  priceless  beauty  gift  from 
Max  Factor  .  .  .  and  copy  of  this  book, 
"The  New  Art  of  Society  Make-Up." 
Just  mail  the  coupon  below 


BERN  ICE  CLAIRE 
First  National  Star  approves  her  cor- 
rect color  harmony  tone  in  lipstick,  cre- 
ated by  Max  Factor,  Hollywood" s 
Make-Up  Genius. 

•96%  of  all  make-up  used  by  Hollywood  Screen 
Surs  and  Studios  is  Max  Factor's. 
( L11  Ange/ei  Chamber  of  Comment  St'li'lici ) 


MAX  FACTOR'S  Society  MAKE-UP 

"Cosmetics  of  the  Stars"  *  .  .  HOLLYWOOD 

0  M.  F.  Studio,  1930 

171      MMTFW~WUR~CdMfLE'XWN 'ANALYSIS 

I  Mr.  Max  Factor — Max  Factor  Studios,  Hollywood,  Calif.  4-9-30. 
I  Dear  Sir:  Send  me  a  complimentary  copy  of  your  48-page  book,  "The  Nev  Art 


I  chart.  I  enclose  to  cents  to  cover  cost 
1  of  postage  and  handling. 
I  n~  — 

!  AAAirtt 


Sixty  Famous  Stars  write 
about  make-up  in  this  book. 


Cr7_ 
I  StJle  _ 


COMPLEXION 

COLOR  EVES 

LIPS 

Ligh. 

Mom 

F111 

COLOR  LASHES 

Or, 

Mcdum 

SK 

N 

COLOR  HAIR 

Odr 

D11I 

LV 

Silo. 

AGE  | 

Normal 

Ol.v* 

AnMr  with  Check  Mali 

108 


SCREENLAND 


ALL  QUIET  ON  THE  BROADWAY  FRONT  —  Continued  from  page  21 


on  the  ice. 

Playwrights,  authors,  stage  directors, 
leading  men,  chorus  men,  producers,  play- 
brokers,  artists'  agents,  bandmen  and  bad- 
men — even  Singers'  Midgets  had  taken  the 
trail  in  the  rush  for  Hollywood  gold.  Hal 
Skelly  was  the  only  actor  on  Broadway — 
and  he'd  just  returned  with  a  special  car 
attached  to  carry  his  last  week's  salary. 
There  was  nothing  left  but  the  Flea  Circus. 
And  even  the  fleas  were  understudies  to  the 
original  Broadway  company  which  had  gone 
out  with  some  of  the  actors. 

The  Great  White  Way,  itself,  had  turned 
yellow,  with  orange-juice  stands,  Chinese 
chop-suey  joints  and  the  flamboyant  lights 
and  posters  of  the  talkies.  What  was  the 
Rialto  (not  a  theater)  in  the  good,  and 
even  the  fair-to-middlin',  old  days  now  was 
strung  with  cinema  cathedrals  like  a 
laundry-man's  abacus.  Between  Times 
Square  and  Fiftieth  Street,  eighteen  movie 
theaters  stretched  end  on  end  reached 
directly  from  the  box-office  to  the  purse 
strings  of  the  multitude.  Coney  Island 
come  to  town  a-ridin'  on  a  talkie!  Each 
day  of  each  week  200,000  persons  going 
to  the  movies  just  along  the  Chow  Mein 
Stem  —  and  the  theater  with  its  vaunted 
legitimacy  played  to  Tammany  Young  and 
Cain's  Warehouse! 

Even  Al  H.  Woods,  Forty-second  Street's 
sweetheart,  bade  Joe  Le  Blang  good-bye 
and  forsook  his  art  to  sell  take-a-movie-of- 
yourself  dinguses.  Next  door  to  where 
Rothstein  started  on  his  last  ride,  stenogs 
and  shipping  clerks  took  voice-tests.  In 
the  sacred  precincts  of  that  vaudevillians' 
Valhalla,  the  Palace,  movie  stars — Estelle 
Taylor,  Esther  Ralston,  brunette  or  blonde 


Sally   O'Neil  and  Molly  O'Day, 
sisters,  have  been  on  a  vaudeville 
tour.   Their  new  picture  is  appro- 
priately titled,  "Sisters." 


—headlined  the  bill. 

The  choice  ring-side  tables  once  reserved 
for  Belasco,  Gest,  Zieggy  and  the  rest,  were 
sacred  to  Lasky,  Sheehan,  an  odd  Warner 
Brother  or  two.  The  revolution  all  over 
again.  The  Russian  revolution  with  an 
assortment  of  Irish  included.  The  Grand 
Dukes  of  the  old  days  trembled  while  the 
new  Nabobs  decided  their  fate.  Death  in 
the  Deserted  Village — or  Exile  to  Holly- 
wood. 

Each  day  the  Century  carried  all  but  the 
very  bricks  of  the  streets  out  of  the  Grand 
Central  toward  the  setting  sun  and  the 
cinema  city.  Transcontinental  commuting 
became  the  vogue.  If  you  met  a  pal  he  was 
either  coming  or  going — never  staying — 
and  usually  talking  loudly  about  being  a 
Native  Son  of  old  California. 

It's  hard  on  we  old  fellers  to  try  a  re- 
adjustment. You  can't  give  an  old  dog  a 
new  kick. 

Now  the  familiar  faces  from  Central  Park 
to  Central  Islip  are  those  shadows  of  the 
cinema  suddenly  and  mysteriously  come 
alive.  Movie  folks  here  for  a  'rest' — or 
Europe-bound — or  to  make  a  picture  in  the 
Eastern  studios.  Buddy  Rogers,  Jack 
Oakie,  Nancy  Carroll,  Maurice  Chevalier, 
Lillian  Roth.  Or  those  like  Claudette  Col- 
bert, who  to  ameliorate  her  defection,  comes 
back  home  to  star  on  the  stage  for  a  season 
between  pictures.  Dapper  directors:  Eddie 
Sutherland,  Monte  Brice,  Victor  Schertzin- 
ger,  bringing  a  new  patter.  A  language  with 
which  New  York  is  becoming  a  little  more 
familiar  since  Broadway  got  it  in  the  'toccus' 
— which,  according  to  Willie  Howard,  is 
the  way  they  say  talkies  these  days  in  the 
theatrical  profession. 


FOUR-A-DAY  AT  69!  —  Continued  from  page  23 


have  no  artistic  appreciation.'  P/ui!  These 
Americans,  I  tell  you,  are  the  grandest 
people  on  earth.  When  they  go  to 
hear  something  new  in  music,  they  say, 
'Now  we  are  going  to  hear  something  we 
will  enjoy.'  They  look  forward  to  it  as 
something  grand  and  beautiful.  But  the 
Europeans  they  sit  themselves  down  in 
their  seats  and  say:  'T^un,  let  us  just  see 
what  this  is  all  about.'  The  difference  is, 
Americans  go  to  enjoy;  foreigners  to  criti- 
cize. But,  of  course,  America  is  looking 
forward;  Europe  backward.  That  is  their 
tragedy. 

"But  here  I  must  make  a  complaint  of 
America.  Every  American  city,  even  the 
little  cities,  should  have  opera.  Why  not? 
The  town  supports  everything  else.  You 
have  Kiwanis,  Rotarians,  Masons.  The 
town  council  will  raise  a  hullaballoo  if 
there's  not  a  light  in  every  dark  little 
street.  But  they  don't  give  a  hang  if  the 
light  burns  out  in  the  breasts  of  thousands 
of  talented  young  people.  They  don't 
care  that  thousands  of  boys  and  girls  are 
starving  for  help  in  music,  in  painting,  in 
writing.  Americans  should  think  more  of 
that  and  pay  less  attention  to  these  politics. 

"If  American  people  heard  more  Brahms, 
and  more  Beethoven,  there  would  be  less 
murder.  Gangland  would  be  reduced. 
Too  much  drinking  would  subside.  When 
one  is  listening  to  a  Beethoven  sonata  or 
a  Brahms  cradle  song,  there  is  no  room 
in  the  human  heart  for  strife  and  hatred. 
I  have  lived  a  long  time  now.  I  have 
seen  many  people,  many  countries,  and 
this  much  I  can  tell  you:   Music,  of  all 


the  arts,  is  the  most  satisfying.  And 
when  one  hears  it,  he  is  lifted  up  and 
away  from  this  world  into  something  dif- 
ferent, better,  finer. 

"Another  thing,  too,  I  should  like  to 
see  Americans  learn — and  that  is  tolerance. 


Richard  Dix  in  a  pensive  mood. 
Maybe  it's  because  a  suitable  hero- 
ine for  "Cimarron,"  his  next  pic- 
ture, has  yet  to  be  found. 


The  youth  is  the  future  of  America,  and 
•they  should  be  taught  it.  Tolerance  for 
Jews.  Tolerance  for  Catholics.  After  all, 
England  was  such  a  particular  country, 
and  they  had  a  Jew  for  premier,  the  great 
Disraeli.  And  I  wish  I  could  think  that 
one  day  there  would  be  a  Jew  in  the 
White  House.  And  a  Catholic,  too.  This 
country  was  founded  for  religious  freedom. 
Let  us  have  it!" 

Madame  got  up  from  her  seat  and  went 
out  into  the  hall,  looking  for  a  chair  in 
which  her  accompanist  might  sit.  "No,  no, 
no!"  she  yelled,  as  somebody  tried  to  bring 
her  a  stool  from  the  ballet  room.  "Don't 
take  that  stool  from  the  little  dancing  girls 
away.  Those  children  are  tired  when  they 
finish  their  work.    No,  I  tell  you! 

"Ach,  so  it  goes — always  somebody  try 
ing  to  take  something  from  somebody  else." 
She  sat  down  again.  "I  can  never  retire 
now,"  she  concluded.  "Now  that  I  have 
sung  once  again  when  I  had  almost  de- 
cided that  my  singing  was  over,  forever. 
Now  I  can  believe  anything  when  this 
dream  of  mine,  of  singing  for  the  movies, 
has  come  true. 

"It  looks  now  as  if  I  would  keep  on 
singing,  for  I  have  been  asked  to  make  a 
talking  picture. 

"My  hope  is  that  I  shall  have  the  voice 
and  strength  to  go  on  singing  until  I  die. 
I  should  like  to  die  singing,  out  before  a 
great,  loving,  appreciative  audience.  And 
then  as  the  last  tone  of  my  voice  faded 
away  and  the  curtain  fell,  I,  too,  should 
like  to  go  out,  on  the  wings  of  my  last 
song!" 


for    September  1930 


109 


Costumes  from  Kaskel  6  Kaskel  Dunlap 

New  summer  freedom 

with  this  lighter,  cooler 
sanitary  protection 

Kotex  stays  light,  cool  and  delicate  for  hours ...  it  deodorizes 
.  .  .  fits  perfectly  .  .  .  thus  giving  unique  summer  comfort. 


WHAT  HAPPENS  TO 
STAGE  STARS 

Continued  from  page  27 

Bannister,  and  I  were  usually  in  different 
shows;  one  would  be  on  the  road  while 
the  other  was  in  New  York.  We  had  no 
home  life." 

Since  coming  here,  the  Bannisters  have 
lived  in  a  big  country  house  near  Van 
Nuys,  but  now  they  are  building  their 
own  place  on  an  acre  and  a  half  on  a 
hilltop  near  Hollywood.  They  drew  up 
the  plans  themselves,  employed  no  con- 
tractor,  Harry  superintending  the  building, 
buying  materials  and  hiring  men.  When- 
ever Ann  isn't  working,  you  can  find  her 
in  overalls  very  busy  about  something  con- 
nected  with  the  new  house. 

The  thing  Ann  and  Harry  like  most 
about  it  is  that  there  is  no  danger  of  their 
being  separated  again.  They  are  very  much 
in  love  and  devoted  to  their  infant 
daughter,  so  they  insisted  that  Pathe  give 
them  a  joint  contract.  The  option  of  one 
cannot  be  taken  up  unless  that  of  the  other 
is  also  exercised. 

"I  have  everything  any  girl  could  ask 
from  life,"  says  Ann. 

Speaking  of  homes,  John  McCormack 
bought  a  whole  canyon  which  he  calls 
Kancho  San  Petruchio  (Spanish  for  St. 
Patrick's  Ranch).  This  is  the  'other  per- 
fect spot,'  according  to  John,  who  will 
divide  his  time  between   it   and  Ireland. 

A  group  of  former  New  Yorkers  have 
gone  completely  suburban.  Robert  Mont- 
gomery and  wife;  Elliott  Nugent  and  his 
wife,  Norma  Lee;  Mr.  and  Mrs.  Raymond 
Hackett;  Mr.  and  Mrs.  Chester  Morris  are 
the  regular  'crowd'  who  play  bridge,  tennis 
and  golf,  dine,  dance  and  swim  together 
and  drive  off  for  week-ends,  just  as  other 
young  couples  all  over  the  country  might 
do. 

"Talk  about  wild  Hollywood!"  says  Ray- 
mond, "we  live  a  most  unsophisticated  life. 
Early  to  bed,  early  to  rise,  kind  of  thing. 
I  know  it  sounds  like  something  to  appeal 
to  Babbitts  and  bromides,  but  boy,  it's 
grand!" 

Kay  Francis  has  scored  a  hit  both  on  the 
screen  and  in  Hollywood.  At  present 
rumor  has  it  that  she  has  even  won  the 
heart  of  that  untouchable,  Ronald  Colman. 
If  so,  any  other  impossible  thing  she  may 
do  will  be  greeted  with  no  amazement  here. 

Her  first  act  upon  arriving  in  our  town 
was  to  buy  her  first  pair  of  trousers,  a 
Ford  roadster  which  she  calls  the  Rabbit, 
and  a  Scottie  dog  and  install  them  and 
herself  in  a  bungalow.  Her  first  vacation 
consisted  of  a  motor  trip  to  San  Francisco 
in  the  said  Rabbit,  clad  in  trousers  and 
accompanied  by  the  pup.  A  first-rate  hotel 
refused  to  admit  her  because  she  wouldn't 
part  with  her  pet,  so  she  drove  around 
the  corner  to  a  second-rate  hostelry  where 
he  was   accorded  hospitality. 

Kay  was  known  as  one  of  New  York's 
'best  dressed  women.'  But  that,  as  she 
says,  was  before  she  knew  the  joys  of  the 
great  outdoors. 

Fredric  March  and  Florence  Eldridge, 
his  wife,  have  a  home  in  Beverly  Hills 
where  they  do  a  great  deal  of  entertain- 
ing, chief  among  their  cronies  being  Kay 
Francis,  Kay  Johnson  and  husband  John 
Cromwell,  Mary  Astor  and  Harlan  Thomp- 
son. Fredric  says  that  Hollywood  has 
wrought  great  changes  in  him  personally. 
He  has  gained  weight,  shaved  off  his  mous- 
tache and  become  athletic. 


MODERN  living  demands  so  much 
of  us!  Freedom  and  perfect 
poise  .  .  .  every  day  of  every  month  .  .  . 
for  sports  or  business  or  some  other 
interest. 

This  constant  activity  would  be  very 
difficult,  particularly  in  summer,  with- 
out the  wonderful  comfort  provided  by 
Kotex.  Kotex  .  .  .  with  its  light,  cool 
construction  ...  its  careful  shaping  . .  . 
its  safe  deodorizing  ...  its  easy  disposa- 
bility  .  .  .  has  ended  forever  many  dis- 
quieting mental  and  physical  handicaps. 

Used  in  hospitals 
Many  of  the  unusual  comforts  of  Kotex 
are  due  to  its  unusual  filler,  Cellucotton 
(not  cotton)  absorbent  wadding.  This 
material  is  used  by  85%'  of  America's 
leading  hospitals  because  of  its  com- 
fort, absorbency  and  hygienic  safety. 

Cellucotton  absorbs  five  times  as 
much  as  an  equal  weight  of  cotton,  or 
any  cotton  material.  This  means  your 
Kotex  pad  can  be  five  times  lighter 
than  ordinary  pads,  yet  have  the  same 
absorbency. 


Kotex  deodorizes  ...  so  very  im- 
portant in  summer.  The  corners  are 
rounded  and  tapered  to  eliminate  awk- 
ward lines.  You  dispose  of  Kotex  like 
tissue.  Kotex  Company,  Chicago,  111. 

pllllllllllllllllllllllllllllllllllllllllllilllllNIIIIIIIIIIIIIM 

IN  HOSPITALS 

85;S  of  our  leading  hospitals  use  the  very  1 
p_  same  absorbent  of  which  Kotex  is  made.  1 

I      2    Kotex  is  soft .  .  .  not  a  deceptive  soft-  | 

ness  that  soon  packs  into  chafing  hard-  1 

ness.  But  a  delicate,  fleecy  softness  that  B 
lasts  for  hours. 

1  X  Safe,  secure  .  .  .  keeps  your  mind  at  | 
1  ease.  1 

|      4    Deodorizes  .  .  .  safely,  thoroughly,  by  j 
a  special  process. 

I      ^    Disposable,  instantly,  completely. 

Regular  Kotex— 45c  for  12 
Kotex  Super-Size— 65c  for  12 
1      Also  regular  size  singly  in  vending  cabinets  s 
through  West  Disinfecting  Co. 

I Ask  to  see  the  KOTEX  BELT  and  I  1 
KOTEX  SANITARY  APRON  at  any  I  is 
drug,  dry  goods  or  department  store.  I 

K  O  T  e  X 

The  New  Sanitary  Pad  which  deodorizes 


110 


SCREENLAND 


"How  I  hate  Hollywood!"  was  Kay  John' 
son's  moan  while  she  was  making  "Dyna- 
mite." Charles  Bickford  used  to  join  in 
the  chorus  when  she  strafed  the  place,  too. 

"Pictures  are  simply  unspeakable!  I  get 
myself  worked  up  and  into  a  scene  and  just 
as  I  feel  I'm  good,  a  camera  man  says: 
'There's  a  light  on  her  chin!'  or  the  sound 
crew  breaks  in  with  'Watch  that  mike!' 
and  it  must  all  be  done  over.  Then  we 
go  into  the  'dejection  room'  and  I  see  my 
self  up  there  unbelievably  bad.  What  a 
business!"  she  would  say. 

"A  factory — not  an  art!"  Charles  would 
growl. 

Conrad  Nagel  would  smile.  "Oh,  how 
familiar!  I  used  to  talk  like  that  once!" 
he  would  murmur. 

His  is  the  last  laugh,  for  today  Kay 
Johnson  admits  that  talkies  are  not  so  dread- 
ful, and  that  her  Beverly  Hills  home  and 
garden  are  ideal.  She  says  she  makes  the 
best  chocolate  pie  ever  tasted  and  swings 
the  meanest  tennis  racquet  on  the  courts. 
New  York  knew  her  as  an  ultra-smart 
sophisticate.  "But  you  live  and  learn!" 
smiles  Kay. 

As  for  Charles  Bickford:  Talking  pic- 
tures, he  has  discovered,  don't  interfere 
with  his  greatest  love,  the  sea.  He  owns 
a  controlling  interest  in  two  Pacific  Coast 
whaling  ships  and  spends  much  time  in 
San  Pedro  Harbor.  He  also  owns  and 
manages  four  garages  and  filling  stations, 
a  restaurant  and  an  animal  farm  which 
rents  animals  for  pictures.  He  lives  right 
on  the  ocean  front  and  swims  every  morn- 
ing, summer  and  winter,  wears  sneakers, 
white  ducks  and  sweater,  drives  a  low- 
slung  topless  roadster  and  snarls  when  any- 
one suggests  his  going  back  to  New  York. 
However,  being  still  an  independent 
thinker,  he  disagrees  with  everything  any- 
one says  on  any  subject.  So  I  suppose 
he's  happy. 

Marguerite  Churchill,  famed  as  the 
youngest  leading  lady  in  New  York,  had 
never  stepped  off  a  pavement  in  her  life 
until  she  came  to  the  film  city.  Now  she 
is  living  in  a  tent  on  the  floor  of  a  great 
desert,  or  in  a  cabin  among  high  moun- 
tain crags  for  Raoul  Walsh's  "Big  Trail." 
She  is  still  sweet  and  dignified  and  delight- 
ful and  has  as  many  beaux  as  any  girl  in 
Hollywood. 

"This  home  life  stuff,"  as  Marjorie  White 
puts  it,  .seems  to  have  the  most  tremendous 


pulling  power  for  all  stage  stars.  Marjorie 
has  lived  all  her  life  since  going  on  the 
stage  at  the  age  of  four  in  'the  top  of 
the  trunk'  and  can't  get  over  the  wonder 
of  having  a  lawn  to  sprinkle,  a  kitchen 
to  cook  in  and  a  house  to  play  with.  Her 
idea  of  a  wonderful  time  is  to  fix  up 
shelves,  make  a  cake  or  plant  something. 
Even  if  the  shelves  have  to  be  taken  down 


Can  it  be  that  Charlie  Ruggles  is 
inebriated  again?  Anyway,  it's  all 
in  the  interests  of  "Queen  High" 
his  next  comedy. 


next  day,  nobody  can  eat  the  cake  and 
the  .stuff  she  plants  dies,  Marjorie  adores  it. 

Chorus  to  above  consists  of  Frank  Fay 
and  Barbara  Stanwyck,  his  wife;  Fannie 
Brice;  El  Brendel;  and  Jeanette  MacDonald. 
Jeanette  says  the  special  thing  she  doesn't 


like  about  Hollywood  is  early  rising.  She 
used  to  go  to  bed  at  one  a  m.  and  get 
up  around  noon  next  day  when  the  stage 
claimed  her.  In  spite  of  having  to  be  on 
the  set  at  the  studio  at  nine  a.  m.,  she's 
never  really  awake  before  afternoon.  What 
to  do?   What  to  do? 

The  dark  side  of  the  page  was  turned 
to  Paul  Muni,  one  of  the  finest  of  Ameri- 
can actors,  whose  two  pictures  flopped 
badly.  Whether  he  will  continue  in  talkies 
or  return  to  the  stage  is  not  yet  decided. 

Success  averted  her  face  also  from 
Catherine  Dale  Owen,  who  seems  unable  to 
live  down  the  cruel  treatment  of  a  New 
York  reviewer:  "Lawrence  Tibbett's  glori- 
ous voice  poured  out  in  adoration  of  the 
Spirit  of  Frigidaire." 

Everett  Marshall  observes  that  it  is  much 
harder  to  work  in  Hollywood,  because  there 
are  so  many  other  things  to  do.  It's  easy 
to  put  on  weight,  and  it's  difficult  to  get 
in  enough  practice  with  the  voice. 

John  Boles,  though,  likes  the  California 
ease.  He  says  he  used  to  struggle  so  hard 
in  New  York  to  get  nowhere  that  it's 
grand  not  to  have  to  slave  and  yet  to  keep 
on  mounting  higher. 

Another  group  of  ex-Broadway-ites  now 
chanting  paeans  of  praise  of  home  life  with 
patios,  swimming  pools  and  other  acces- 
sories, are  the  James  Gleason  family,  Robert 
Armstrong,  Anthony  Bushell  and  Zelma 
O'Neal,  Ralf  Harolds,  David  Manners  and 
Alexander  Gray. 

Bernice  Claire  and  Dorothy  Lee  are  Cali- 
fornia girls  who  merely  spent  a  year  or 
so  in  New  York.  Bernice  found  it  stimu- 
lating there,  but  Dorothy  felt  as  if  she 
were  living  on  a  merry-go-round  where 
everybody  hurried  all  the  time. 

James  Rennie  says  it  costs  less  to  live 
well  in  Hollywood  and  life  is  less  monoton- 
ous here.  He  spends  his  leisure  in  his 
car  and  thinks  it  will  take  a  quantity  of 
leisure  to  cover  all  the  interesting  places 
he  wants  to  see.  If  the  screen  likes  him 
as  well  as  he  likes  California,  he's  staying. 

Joining  the  gang  that  warbles  of  the  hap- 
piness of  homes,  Robert  Woolsey  of  RKO 
set  out  and  bought  one  on  a  hilltop.  Then 
he  acquired  a  Lincoln  car.  After  the  Wool- 
seys  were  settled,  it  was  discovered  that 
the  Lincoln  was  too  big  for  the  garage. 

"So  I  guess  I'll  have  to  put  the  Lincoln 
in  the  house  and  move  into  the  garage!" 
sighs  Robert. 


A  SINGING  LESSON  —  Continued  from  page  29 


for  the  reinforcement  of  the  vibration. 
Therefore,  one  should  study  the  elimination 
of  muscular  interference  before  trying  to 
develop  breathing  power. 

Why  lay  stress  upon  breathing  until  the 
instrument  through  which  the  breath  must 
pass  is  open  and  controlled?  Breathing 
is  one  of  the  most  natural  things  in  the 
world  but  the  over-development  of  it  is 
one  of  the  most  dangerous  factors.  This 
over-development  forces  more  breath 
through  the  vocal  instrument  than  there  is 
room  for.  Muscular  contraction  is  the  re- 
sult; thereby  developing  muscular  action 
instead  of  eliminating  it.  It  is  not  the 
source  of  breathing  which  should  be  con- 
trolled at  first,  but  the  outlet. 

To  get  the  tone  really  forward,  clear  and 
silvery,  is  then  a  matter  of  elimination. 
One  by  one  all  interferences  must  be  elimi- 
nated, until  there  is  a  clear  open  passage 
through  which  the  vibration  can  flow.  This 


can  be  done  by  slow,  careful,  and  well- 
thought-out  work. 

Next,  in  our  singing  lesson,  comes  dic- 
tion, a  result  of  the  activity  of  the  jaw. 
We  cannot  enunciate  clearly  without 
action.  The  mouth  must  open  and  close 
vitally  (that  ever-important  word)  and 
quickly.  For  example,  one  can  not  dance 
gracefully  if  one  drags  one's  feet.  They 
must  be  vital.  Just  as  each  step  has  its 
own  position,  so  has  each  word  its  distinct 
and  definite  position.  One  word  is  not 
carried  into  the  next.  There  is  a  separate 
action  for  each  word.  It  almost  resolves 
itself  into  athletics,  doesn't  it?  These  same 
athletics  are  what  we  call  technique.  We 
can  never  afford  to  lose  our  technique  in 
singing. 

Singing  is  really  a  self-creative  art  and 
much  mental  work  must  be  accomplished 
with  the  control  of  the  physical  in  order 
to  interpret  intelligently   the   creative  art 


of  the  poet  and  composer. 

Learn  to  sing  and  speak  with  vitaliza- 
tion  and  relaxation,  and  sooner  or  later 
you  will  be  a  singer.  The  correct  position 
of  the  mouth  is  one  of  the  secrets  that  all 
great  singers  have  known,  yet  it  is  some- 
thing that  many  teachers  neglect  to  stress. 
Long  lectures  are  given  about  the  nasal 
cavities  and  passages  so  that  the  voice  will 
be  forward.  Real  forward  placement  will 
follow  as  night  follows  day  if  the  mouth 
and  throat  are  open  and  the  breath  is 
allowed  to  flow  freely. 

Practice  the  exercises  given  here  on  the 
vowel  sound  between  the  Italian  "AW" 
and  the  American  "AH"  (I  admit  I  am 
giving  you  something  hard  to  do,  but  it 
can  be  done!)  Practice  the  scales  on  do- 
re-me,  etc.;  think  constantly  of  the  vital- 
ization  of  your  entire  being,  and  you  will 
attain  your  singing  dreams. 


for    September    19  3  0 


111 


COOKING  FOR  THE  FUN 
OF  IT 

Continued  from  page  93 

cadilly.  All  these  recipes  with  others,  are 
given  here. 

If'Zelma  ever  tires  of  a  career  she  vows 
she'll  go  into  the  candy  business.  And  if 
she  did,  there  would  be  no  doubt  of  her 
success.  Not  only  could  she  handle  the 
manufacturing  end,  but  she  could  attend 
to  the  distribution  as  well,  throwing  in 
free,  a  little  dance  step  with  every  pur- 
chase of  her  two  dollars  a  pound  candy! 

JELLABLIES 

Mix  two  cups  water,  three  cups  flour, 
two  tablespoons  sour  milk,  one  tablespoon 
corn  flour  and  two  tablespoons  ghi(  Indian 
butter  which  is  like  a  vegetable  oil).  Let 
mixture  stand  overnight  to  rise.  The  next 
morning  add  a  pinch  of  soda.  Fry  in  ghi 
and  drop  in  syrup. 

ICE  BOX  FUDGE 
Beat  three  eggs  five  minutes.  Add  two 
cups  powdered  sugar  and  beat  for  five 
minutes.  Stir  in  one  pound  melted  milk 
chocolate.  Add  one  cup  nuts  broken  in 
small  pieces,  one-half  cup  raisins  and  va- 
nilla to  taste.  Let  stand  in  ice  box  eleven 
hours,  then  slice  or  cut  in  squares. 

DIVINITY 
Place  in  a  saucepan  two  and  a  half  cups 
sugar,  one-half  cup  white  corn  syrup,  and 
one-half  cup  hot  water.  Cook  until  mix- 
ture forms  a  hard  ball  in  cold  water,  or 
hard  enough  to  make  a  clinking  sound  on 
the  side  of  a  tea  cup,  take  from  fire  and 
beat  in  two  egg  whites  which  have  been 
well  beaten.  When  stiff,  add  one  cup 
chopped  nuts. 

COOKED  POTATO  FONDANT 
Mix  one-half  cup  potato  which  has  been 
cooked  and  forced  through  a  fine  seive 
with  two  cups  of  sugar.  Add  the  un- 
beaten white  of  one  egg,  then  thin  with 
two-thirds  of  a  cup  of  milk. .  Place  pan 
on  an  asbestos  mat  over  the  fire  and  cook 
until  thick.  Pour  on  a  cold,  damp  slab 
of  marble  or  large  platter.  Knead  small 
quantities  at  a  time  until  entire  quantity 
is  smooth.  Pack  in  tins  which  have  been 
lined  with  waxed  paper.  Combine  portions 
of  fondant  with  fruit  or  nuts  as  wanted. 

TOFFEE 

Combine  one-half  cup  brown  sugar,  one- 
half  cup  white  sugar,  one-fourth  cup  corn 
syrup  and  one-half  cup  cream  in  pan,  place 
over  fire  and  stir  until  it  reaches  the  boil- 
ing point.  Add  one  tablespoon  butter  and 
cook  to  249  degrees  F.  Remove  from  fire 
and  add  one-fourth  teaspoon  salt,  one-half 
teaspoon  vanilla  and  one-half  cup  chopped 
nut  meats.  Pour  out  on  greased  marble 
or  large  platter.  When  cold,  cut  in  sec- 
tions one  and  one-half  inches  long  by  one- 
half  inch  wide. 


The  golf  bag  offered 

by 

Arthur  Lake  in  the  J 

une 

issue  of  SCREENLAND 

has 

been  awarded  to: 

E.  M.  Graves, 

Caney,  Kansas. 

She  started  all  America  singing  "Can't 
help  lovin'  that  man".  .  .  she  played 
in  some  of  the  greatest  successes 
Ziegfeld  has  ever  known  .  .  .  and 
she  tells  you  here  how  she  protects 
the  beauty  that  made  her  famous. 

YOU  saw  her  in  "Show  Boat,"  didn't  you? 
And  if  you  are  human — and  feminine — 
you  must  have  wondered  how  she  preserves 
her  creamy  skin  and  cool,  magnolia  beauty. 

Well — take  a  peep  into  her  dressing  room ! 


More  and  more  people  are  using  Kleenex  to  replace 
handkerchiefs.  It  is  especially  valuable  during  colds, 
to  avoid  reinfection. 


Right  past  the  doorman,  into  the  star's  own 
inner  sanctum!  And  here  we  find  her,  cleans- 
ing her  skin  . . .  with  Kleenex ! 

"Kleenex  is  always  on  my  dressing  table," 
she  says.  "It's  the  only  safe  and  sanitary  way 
to  remove  face  creams  and  make-up.  Soft  and 
absorbent,  it  wipes  away  but  does  not  scratch 
or  stretch  the  skin." 

You  see,  Helen  Morgan  knows  the  impor- 
tance of  proper  cleansing.  So  she  uses  Kleenex. 

Kleenex  is  powerfully  absorbent.  It  blots 
up  . . .  not  only  every  trace  of  cream  and  oil 
.  .  .  but  embedded  dirt  and  cosmetics  also. 

Women  everywhere  are  rapidly  adopting 
the  Kleenex  way  of  removing  cold  cream. 
Kleenex  is  so  sanitary.  It's  so  much  safer  than 
germ-filled  "cold  cream  cloths"  or  towels.  And 
far  less  expensive. 

Kleenex  comes  in  white,  and  in  three  safe, 
lovely  tints,  at  all  drug  and  department  stores. 

•>      May  we  send  you  Kleenex— free?  1  <* 

SL-9 

Kleenex  Company,  Lake-Michigan  Building,  Chicago, 
Illinois.   Please  send  a  sample  of  Kleenex  to: 

Name  — 

Address    

City  


112 


SCREENLAND 


2)  o  men  aamuie, 
natural  color 

JUST    /%SI4    ONE  ! 


L/£<?  Nature's  Own  Glow 

Men  admire  youthful,  healthy  color.  Certainly! 
They  want  your  lips  to  look  Natural .  .  .  not  a 
greasy  smear  of  glaring,  flashy  color! 

Tangee  is  entirely  unlike  any  other  lipstick. 
It  contains  no  pigment.  Magically  it  takes  on 
color  after  you  apply  it  to  your  lips.  It  is  like 
a  glow  from  within  ...  a  blush  so  natural  that 
it  seems  a  part  of  the  lips.  And  Tangee  never 
rubs  off  or  looks  artificial. 

Based  on  a  marvelous  color  principle,Tangee 
blends  perfectly  with  your  own  natural  coloring, 
no  matter  what  your  individual  complexion! 

Tangee  Lipstick,  $1.  The  same  marvelous  color 
principle  in  Rouge  Compact,  75^  .  .  .  Crime 
Rouge,  $1.  Face  Powder,  blended  to  match  the 
natural  skin  tones,  $1.  Night  Cream,  both 
cleanses  and  nourishes,  $1.  Day  Cream,  protects 
the  skin,  $1.  Cosmetic,  a  new  "mascara,"  will 
not  smart,  $1. 


RONALD  COLMAN  —  Continued  from  page  33 


SEND  20^  FOR  TANGEE  BEAUTY  SET 

(Six  items  in  miniature  and  "The  Art  of  Make-Up.") 

The  George  W.  Luft  Co.,  Dept.  SL-9 
417  Fifth  Avenue  New  York 


Name  -  ■ 
Address- 


strange  people  at  a  party  en  masse  and 
having  to  talk  to  them  is  one  of  his  ideas 
of  what  hell  might  be  like! 

His  private  life  he  guards  as  carefully 
from  the  public  as  possible.  It  is  said  no 
writer  has  ever  entered  his  house.  He 
prefers  lamplight  to  elecrticity  and  that 
is  why  he  has  it  in  his  beach  house,  although 
the  last  time  I  saw  him  he  told  me  he  was 
going  to  have  it  wired  in  case  he  wanted 
to  rent  it  while  he  was  away.  "Not  many 
people  have  my  countrified  tastes,"  he 
smiled. 

There  are  two  reasons  why  he  fights  shy 
of  publicity.  One  is  a  business,  the  other 
a  personal  reason.  "When  a  man  has  been 
in  pictures  as  long  as  I  have  there  isn't 
very  much  the  public  doesn't  know  about 
him.  After  all,  when  a  story  has  once  been 
told  what  is  there  to  add  to  it?  Once 
having  read  that  Ronald  Colman  is  an 
Englishman,  smokes  a  pipe,  likes  solitude, 
likes  to  read,  likes  tennis,  wears  white 
flannels  in  summer,  they  can't  be  interested 
in  hearing  it  again.  Repeated  stories  are 
wearying,  and  the  subject  of  them  becomes 
wearisome,  too.  As  long  as  I  am  in  pic 
tures  I  think  a  little  publicity  is  very  good, 
necessary  even,  but  too  much  is  the  worst 
thing  that  can  happen  to  an  actor. 

"The  other  reason  is  that  writers  are 
insatiable  in  their  demands.  They  want  to 
know  the  things  that  have  nothing  to  do 
with  a  man's  work  and  only  concerns  him- 
self. If  sorrow  or  joy  touches  us  surely 
it  is  our  own  affair,  to  be  shared  with  our 
personal  friends,  perhaps,  but  not  with 
the  whole  world.  There  are  some  things 
in  this  life  that  are,  or  should  be,  sacred 
to  each  of  us  alone.  They  are  our  prob' 
lems  to  be  worked  out  by  us. 

"What  I  do  after  I  leave  the  studio 
seems  to  me  to  be  my  own  business,  un- 
less  I  break  the  peace  or  become  a  public 
nuisance.  What  I  think  on  certain  subjects 
cannot  possibly  interest  other  people,  I 
feel.  The  desire  to  know  what  an  actor 
or  actress  likes  or  dislikes,  does  or  does 
not  is  prompted,  not  from  real  interest,  I 
feel  sure,  but  by  idle  curiosity  alone,  and 


Rosita  Moreno  was  a  Follies  and 
vaudeville  dancer  before  the  talk- 
ers but  now  she  has  a  Paramount 
contract  and  will  appear  in  both 
Spanish  and  English  pictures. 


I  can't  see  the  advantage  in  gratifying  it. 

"Acting  is  an  illusion  and  the  actor 
should,  to  my  way  of  thinking,  be  an  illu- 
sion,  too.  He  is  not  himself  when  he  is 
acting.  If  he  is  a  good  actor  he  tries  to 
do  the  things  as  the  man  in  the  story  would 
do  them,  not  as  he  himself  might  handle 
the  situation.  The  public  admires  the  man 
in  the  picture.  If  it  knew  the  actor  as 
a  man  it  might  not  like  him  at  all.  If  he 
plays  a  villain  he  is  hated,  and  yet  the  public 
might  like  the  actor  who  played  the  vil- 
lain  very  much  if  it  knew  him  as  a  man. 

"What  difference  does  it  make  whether 
they  do  or  don't  know  anything  about 
him?  The  man  should  be  separated  from 
the  artist. 

"I  know,  of  course,"  said  Ronnie  with 
his  charming  smile,  "that  what  I  think 
won't  matter  in  the  least  to  the  public 
or  anyone  else,  but  they  are  my  views  and 
I   can't  help  them." 

Ronnie  isn't  violent  on  the  subejct- — he 
doesn't  wonder  why  everyone  doesn't  think 
as  he  does — it  doesn't  even  annoy  him 
that  they  don't.  His  is  a  large  tolerance 
of  thought  that  desires  to  live  and  let  live. 

When  he  is  working  he  dodges  inter- 
views,  though  he  is  always  cordial  to 
visitors  on  the  set.  When  the  picture  is 
over  he  turns  himself  over  to  the  publicity 
department  for  offstage  pictures  that  we 
are  always  howling  for,  and  anything  they 
may  want  him  to  do  within  reason  for 
a  week.  Although  he  has  often  been  begged 
to  do  so  he  has  only  twice  made  a  per- 
sonal appearance  in  connection  with  his 
picture.  Once  in  New  York  for  the  open- 
ing of  "Bulldog  Drummond"  and  once 
in  San  Francisco  for  the  same  picture,  be- 
cause "it  seemed  to  mean  a  lot  to  Sam." 
(Samuel  Goldwyn). 

Ronnie  thinks  personal  appearances  are 
very  bad  business.  "Curiosity  again.  The 
public  forms  a  concept  of  what  the  actor  is 
like  as  a  man  through  his  work  on  the 
screen  and  the  parts  he  has  been  cast  in. 
It  is  an  exaggerated  picture  naturally,  im- 
agination being  limitless.  An  actor,  there- 
fore, could  not  possibly  live  up  to  what 
the  public  imagines  him  to  be,  and  it  can't 
help  but  be  disappointed  when  it  sees  a 
flesh  and  blood  individual  step  out  upon 
a  stage  and  say  a  few  trite  sentences.  At 
once  the  illusion  is  broken  and  it  seems 
to  me  just  a  little  of  the  pleasure  gone 
from  the  next  performance  given  by  that 
individual. 

"Yet  that  is  not  altogether  why  I  dislike 
making  them.  It  is  a  terrible  ordeal.  I 
feel  so  absurd — like  an  animal  up  for  a 
blue  ribbon!"  And  Ronnie's  eyes  smiled 
even  before  the  laughter  lines  crinkled 
about  them. 

There  has  never  been  a  word  of  scandal 
spoken  against  Ronald  Colman.  No  one 
has  ever  known  him  to  pay  marked  attention 
to  any  woman.  He  is  occasionally  seen  in 
the  company  of  a  woman,  sometimes  of 
the  screen  world,  sometimes  unknown  to 
it,  but  never  often  enough  to  excite  com- 
ment, and  it  doesn't  take  much  to  do  that 
in  Hollywood.     Believe  you  me! 

Because  of  this  it  was  both  surprising 
and  amusing  to  hear  rumors,  as  soon  as 
it  was  known  that  he  was  on  the  boat 
bound  for  London,  that  he  was  making  the 
trip  to  have  another  try  for  a  divorce  from 
the  wife  from  whom  he  has  been  separated 
for  years.  It  was  said  that  he  would  then 
marry  Kay  Francis,  who  was  his  leading 
woman  in  "Raffles,"  his  latest  picture. 
Kay  Francis  denied  the  report  as  well  as 


for    September  1930 


113 


Little  Jane  Harriet  Brown  is  too 
youn%  to  talk  but  if  she  could 
she'd  tell  you  all  about  her  favor- 
ite actor — her  daddy,  Johnny  Mack 
Brown. 


she  could  for  laughing.  "We  were  friends, 
but  there  wasn't  any  sentiment  to  the 
friendship,"  she  declared. 

The  next  week  the  rumor  was  that  Gloria 
Swanson  was  the  lady  Ronnie  was  to  be 
divorced  for.  All  we  can  say  is  that  he 
must  have  done  some  stepping,  and  worn 
an  invisible  hat.  However,  in  Ronnie's  ab- 
sence the  Goldwyn  office  denied  both  rumors 
officially  and  unofficially  declared  that  they 
personally  thought  the  rumor  that  Ronnie 
was  trying  to  get  a  divorce  'all  hooey!' 

One  might  imagine,  remembering  his 
preference  for  detachment,  that  Ronald 
Colman  lives  in'  a  terraced  fortress  removed 
from  the  haunts  of  man,  yet  that  isn't  the 
way  it  is  at  all.  His  Hollywood  home 
is  right  on  the  street.  A  seldom  travelled 
street,  but  still  a  street.  There  aren't  even 
trees  between  it  and  the  cathedral-like  win- 
dows. And  his  tennis  court  is  quite  open 
to  the  public  gaze.  At  Malibu,  heaven 
knows,  nothing  could  be  clubbier.  Each 
house  down  there  is  smack  up  against  his 
neighbor,  and  one's  front  yard  is  a  strip 
of  sand  and  then  the  ocean.  There  is 
nothing  fortressed  about  any  Malibu  house, 
least  of  all,  Ronnie's. 

He  is  not  secretive,  therefore,  just  re- 
served. He  has  not  the  passionate  desire 
for  solitude  that  John  Gilbert  has,  for  in- 
stance, only  to  find  that  when  he  is  too 
much  alone  he  becomes  restless  and  lonely. 
Ronnie  simply  knows  that  a  certain  amount 
of  aloofness  from  the  hectic  throng  is  nec- 
essary for  his  peace  and  happiness  and  he 
takes  it.  He  doesn't  overturn  the  world 
to  bring  it  into  his  life.  He  is  not  a 
recluse.  In  a  perfectly  effortless  manner, 
quite  quietly  and  pleasantly  he  refuses  to 
have  his  peace  disturbed.  For  the  ability 
to  do  this  he  can  thank  that  executive  qual- 
ity of  mind  spoken  of  before. 

Through  all  his  success  Ronald  Colman 
has  kept  his  sense  of  humor — has  not  lost 
his  sense  of  balance  and  has,  perhaps,  more 
real  contentment  than  any  individual  who 
earns  his  or  her  living  in  this  seething 
caldron  of  joy  and  sorrow,  achievement 
and  disappointment,  vaulting  ambition  and 
grim  despair,  glamour  and  shadow,  sudden 
wealth  and  still  more  sudden  poverty,  that 
is  Hollywood. 


OCIir  offers 

$1 00000.or 

Beautiful  Hair! 


FIRST  PRIZE 

$250.00  and  a  portrait  of  the  winner  by  Charles 
B.  Ross,  famous  painter  of  beautiful  women 


SECOND  PRIZE  $100.00 


2  Prizes  $50.00  each 
4  Prizes    25.00  each 


10  Prizes  $10.00  each 
70  Prizes     5.00  each 


ARE  you  going  to  be  one  of  the  prize  winners 
/\  in  the  Jo-cur  contest  for  beautiful  hair?  If 
you  have  beautiful  hair,  attractively  finger-waved 
and  smartly  dressed,  it  may  win  for  you  one  of 
the  prizes.  Your  chance  to  win  is  just  as  good  as 
anyone's.  Think  of  if!  You  may  win  the  money 
for  a  glorious  trip  —  a  new  outfit  —  or  some 
other  luxury  you  have  always  wanted.  Just  read 
the  simple  rules  of  this  great  contest  —  and 
enter  today. 

CONDITIONS  OF  THE  CONTEST 

All  you  need  do  to  enter  is  shampoo  and  finger-wave  your  hair  attractively.  Then 
send  a  photograph  showing  your  hair,  to  Miss  Jo-cur,  Curran  Laboratories,  Inc.,  New 
York  City.  With  the  photograph,  send  a  brief  note  telling  whether  you  used  Jo-cur 
Shampoo  and  Jo-cur  Waveset,  the  original  finger-waving  liquid,  in  dressing  your 
hair.  That's  all  there  is  to  it.  Judges  will  consider  only  the  beauty  of  your  hair  as 
shown  in  the  photograph.  In  awarding  prizes,  equal  consideration  will  be  given  all 
contestants  regardless  of  the  preparations  used  in  dressing  the  hair.  But,  don't  think 
you  must  submit  an  expensive  photograph.  A  good,  clear  snapshot  is  all  that  is  neces- 
sary. Photographs  cannot  be  returned  and  the  right  is  reserved  to  publish  any  photo- 
graph submitted.  The  contest  closes  September  30th. 

HERE  ARE  THE  JUDGES 

These  experts  in  feminine  hair  beauty  will  pick  the  lucky  winners  in  this  contest.  Their  names  guarantee 
that  the  judgment  will  be  fair  and  impartial.  ALICE  WHITE,  First  National  Star,  whose  beautiful,  wavy 
hair  is  the  envy  of  millions.  CHARLES  B.ROSS,  famous  painter  of  lovely  women.  HAZEL  KOZLAY,  Editor 
of  American  Hairdresser  Magazine,  an  authority  on  beautiful  hair. 

FOR  BEST  RESULTS 

how  easily  and  beautifully  you  can  shampoo  and  finger-wave  your  own 
hair  with  these  famous  preparations. 

Jo-cur  Shampoo  Concentrate — lathers  luxuriously,  brings  out  the  hid- 
den gold  in  your  hair,  ond  leaves  it  soft,  silky  and  easy  to  finger- 
wave.  It  should  be  your  first  thought  in  hair  dressing. 
Jo-cur  Waveset — sets  natural-looking  waves  quickly  and  is  beneficial 
to  hair  and  scalp.  Its  use  is  simplicity  itself.  Millions  of  women  recog- 
nize Jo-cur  Waveset  as  the  one  ideal  finger-waving  liquid. 

OTHER  JO-CUR  BEAUTY  AIDS 
Jo-cur  Hot  Oil  Treatment  corrects  scalp  dis- 
orders. 

Jo-cur  Brilliantine  —  adds  the  finishing  touch  to 
the  coiffure. 

Simple  directions  for  shampooing  and  finger- 
waving  the  hair  come  with  each  of  the  Jo-cur 
Beauty  Aids.  If  you  wish  to  use  Jo-cur  Shampoo 
Concentrate  and  Jo-cur  Waveset  in  this  contest, 
you  will  find  trial  sizes  at  most  5-and-10-cent 
stores — regular  sizes  at  your  drug  store. 
If  your  nearest  5-and-10  or  drug  store  is  out  of 
Jo-cur  Beauty  Aids,  we  will  mail  you  trial  sizes  of 
all  four  products  upon  receipt  of  50c  in  stamps. 
Remember  the  contest  closes  at  midnight  Sep- 
tember 30,  1930.  Be  among  the  first  to  enter 
your  photograph  in  this  nation-wide  search  for 
beautiful  hair. 

CURRAN  LABORATORIES,  Inc. 

491  East  133rd  Street,  New  York,  N.Y. 


You  will  be  delighted  to  see 
Li....r.u«r^T* 


114 


SCREENLAND 


SCIENCE 

points  the  way  to 
LOVEABLE  BEAUTY 


BEAUTY 
ADVICE 

by  th^ 
famous 
MADAME 
BERNHARDT 


Has  sea,  wind  and  merciless  sunshine 
wreaked  havoc  upon  your  "Complexion  Appeal"? 
If  thru  carefree  neglect,  you  have  developed 
a  "summery"  skin,  course  and  reddish,  with 
tiny  frowning  "danger  lines"  around  the  eyes 
and  mouth,  blackheads  or  pimples,  freckles'  and 
sunburn,  read  on  attentivement.  I  will  try  in 
a  few  brief  words  to  point  the  way  to  beaute" 
enchantante.  I  will  let  science  show  you  the 
sure  path  to  a  silky,  tempting  complexion  free 
from  conspicuous  pimples,  blackheads,  freckles! 
And  a  glorious,  vivid  hair  beauty  as  well  as 
sparkling,  magnetique  eyes ! 

How  to  Remove  Pimples,  Freckles 
Blackheads 

There  are  many  approved  ways  to  remove  these 
ugly  blemishes.  Internal  lubrication,  less  iron  in 
the  diet,  home  remedies,  fruit  and  skin  emolients. 
These  are  all  good,  but  not  positive  in  their  results. 
Besides,  mademoiselle,  much,  much  time,  perhaps  . 
months,   must  be  spent   before   results  can  be  seen. 

If,  however,  you  want  Quick,  safe  results,  follow 
Science  and  use  either  a  good  skin  bleach  or,  much 
better,  a  good  Skin  Peel  Lotion.  Of  course,  care 
must  be  exercised  in  the  selection  of  these.  Not 
any  bleach  or  Peel  will  do!  Some  are  too  strong — 
others  too  weak.  I  would  recommend  a  new  product: 
ARVA,  perfected  after  years  of  careful  experiments. 
It  is  a  combination  Bleach-Peel  and  is  the  ultime 
mode  amongst  the  smarter  set — and  theatrical  stars, 
too!  ARVA  is  entirely  different  from  other  peels. 
It  does  not  contain  acids  or  harsh  ingredients.  And 
its  results  are  truly  wonderful.  Pimples,  freckles, 
frowny  lines,  blackheads,  sallow  complexion,  rough- 
ness— all  go  in  a  few  days'  time.  A  new,  fresh 
and  beautiful  skin  will  grow  in  its  place!  This  is 
the  only  sure,  safe  way  I  know.  The  manufacturers, 
a  gigantic  company  of  chemists  established  many  years, 
sell  this  product  under  a  $1000.00  safety  bond! 

Lovely  Skin  in  5  Days 

Tou  too  can  have  an  enviable,  lovely  and  loveable 
skin  in  5  days!  Think  of  the  thrill  of  a  soft,  allur- 
ing skin  made  possible  by  science!  It  will  be 
"irresistible"  as  we  say  in  French.  Popularity, 
admiration,  even  LOVE  are  its  rewards!  And  the 
manufacturers'  price  (never,  never  to  be  repeated) 
is  only  $1.98!  Imagine.  $1.98  for  a  treatment  I 
myself   would   charge    $25.00    in   Paris  1 

Eyes  and  Hair  Important  Too! 

No,  I  didn't  forget  the  eyes,  the  mirrors  of  the 
soul.  And  the  hair  is  just  as  important  an  adorn- 
ment in  1930  as  it  ever  was!  Space  does  not  permit 
me  to  say  all  about  these  here.  But  the  manu- 
facturers of  ARVA  authorize  me  to  offer  FREE,  a 
35c  size  of  EYE-YOUTH  Lotion  and  also  a  50c  box 
of  powdered  ERBAL  Shampoo  (No.  1,  blondes;  No. 
2,  brunettes)  together  with  a  regular  75c  jar  of 
ERBAL  Hair  Tonique.  ERBAL  Tonique  and  SHAM- 
POO are  the  result  of  35  years'  experience  in  manu- 
facturing hair  preparations.  They  stimulate  luxuriant, 
hair  growth  and  give  hair  that  hallucinating  natural 
sheen.  A  25c  cake  of  CUTICLE  Fruit  Soap  and  a 
box  of  Parisian  powder  (imported,  any  shade)  will 
go  in  the  package.  And  to  cap  it  all,  everything 
is  absolutely  GUARANTEED  to  satisfy  you,  or  your 
money  comes  right  back. 

Write  me  for 

PERSONAL  BEAUTY  ADVICE 

My  many  years  in  the  International  Beatuy  Field 
enable  me  to  otter  accurate  advice  on  beauty  prob- 
lems. I  will  gladly  answer  any  question  -personally, 
without  charge.  By  all  means  do  not  fail  to  avail 
yourself  of  the  wonderful  opportunity  package  offer. 
You  are  getting  every  bit  of  $7.35  for  $1.98.  Such 
an  astounding  offer  will  positively  never  be  repeated 
again.  Science  points  the  way  to  Loveable  Beauty 
and  its  rewards:  popularity,  success,  love!  Will  you 
follow?  Write  me  today,  care  of  the  NEW  YORK 
LABORATORIES.  Do  not  send  me  any  money. 
Merely  write  me  a  short,  frank  letter  telling  me 
of  your  difficulties.  Since  no  two  beauty  problems 
are  alike,  I  will  dictate  individual  instructions  and 
advice  with  EVERY  package  sent  out.  Remember 
that  this  exceptional  introductory  offer  is  for  a  short 
time  only.  You  need  only  pay  $1.98  for  ALL,  plus 
a  few  cents  postage,  on  delivery!  Therefore  write 
TODAY,  without  further  dalay.  Address  your  en- 
velope as  follows:  Madame  Bernhardt,  NEW  YORK 
LABORATORIES,  Box  14  Station  T.  Desk  203-S. 
New  York  City. 


WAYS  AND  MEANS  TO  BEAUTY — Continued  from  page  63 


with  moistened  baking  soda  or  an  anti- 
septic salve  that  relieves  the  pain  and  heals 
the  inflamed  tissue. 

Bleaching  preparations,  to  be  effective, 
should  remain  on  the  skin  for  a  consider' 
able  length  of  time.  If  possible,  .apply  the 
bleaching  cosmetic  at  night  before  retiring; 
and  use  a  good  astringent  in  the  morning 
after  the  skin  has  been  thoroughly  cleansed. 
For  the  more  obstinate  and  deep-seated 
freckles  and  tan  of  long  standing,  double- 
strength  bleaches  may  be  applied.  These 
usually  occur  on  shoulders,  arms  and  hands, 
and  these  parts  of  the  body  are  less  sensi- 
tive than  the  face  and  neck. 

There  are  few  complexions  that  cannot 
be  improved  by  an  occasional  bleaching 
treatment.  Some  bleaches  come  in  two 
strengths;  others  in  one  strength  to  be  di- 
luted, if  necessary.  On  tender,  sensitive 
skins  it  may  be  better  to  use  a  mild  bleach 
daily,  the  constant  drop  of  water  that  will 
wear  away  the  stone — while  on  others  a 
double-strength  bleach  may  be  used  with 
quicker  results.  In  using  any  preparation, 
follow  the  directions  faithfully.  Best  re- 
sults are  obtained  by  using  their  prepara- 
tions in  the  way  the  manufacturers  direct 
you  to  use  them. 

While  repairing  the  ravages  of  summer, 
don't  neglect  the  neck  which  so  frequently 
takes  on  that  horrid  weather-beaten  look 
so  at  variance  with  a  well-cared-for  com- 
plexion. Your  becoming  furs  that  you  will 
begin  to  wear  on  the  first  cool  days  collect 
dust  and  dirt  and  will  be  rubbed  into  the 
pores  of  your  neck  and  even  the  best  of 
furs  sometimes  discolor  the  skin.  Once  a 
week  give  the  neck  a  bleaching  treatment, 
either  with  a  bleach  suited  and  diluted  to 
your  need  or  with  lemon  juice. 

Speaking  of  lemons,  I  would  like  to  tell 
you  of  another  use  for  them.  As  you  may 
have  noticed,  I  am  strong  for  internal  treat- 
ments. Dissolve  a  pinch  of  bicarbonate  of 
soda  in  the  juice  of  a  lemon  and  take 
every  morning  before  breakfast,  for  a  week. 
It  tones  up  the  liver,  aids  digestion,  and 
these  are  natural  aids  to  a  lovely  complex- 
ion. I'm  not  recommending  this  as  a  cure 
for  tan  or  sunburn  but  it  will  help  banish 
sallowness.  It's  not  at  all  unusual  to  find 
one's  digestive  apparatus  upset  by  irregular 
living  while  camping  or  motoring  and  to 
find  that  even  though  one  has  succeeded 
in  getting  rid  of  the  ugly  tan  that  the 
skin  underneath  is  sallow. 

When  the  bleaching  treatment  does  not 
sufficiently  refine  the  texture  of  the  skin 
that  has  been  coarsened  by  severe  sunburn 
it  should  be  given  a  treatment  that  will 
stimulate  the  relaxed  pores  to  function  nor- 
mally. To  accomplish  this  we  have  massage, 
the  patter,  electric  apparatus,  astringents, 
stimulation  ointments  and  liquids  and  pore 
creams. 

Eyes  need  attention,  too,  especially  if 
the  skin  about  the  eyes  is  all  puckered  and 
lined  because  of  eye  strain  caused  by  too 
much  glaring  sun  on  the  tennis  court,  beach, 
or  golf  course,  or  too  much  driving  in  the 
sun  over  hard  glistening  roads.  A  good 
eye  tonic  should  be  used  night  and  morn- 
ing with  an  eye-cup  or  dropper,  also  during 
the  day  when  the  eyes  feel  tired.  At  least 
twice  a  day,  if  possible,  give  your  eyes  a 
rest  treatment.  Use  small  bags  of  herbs 
or  other  soothing  ingredients  steeped  in  hot 
milk  or  they  may  simply  be  dipped  in  hot 
water.  Lie  down  to  rest  for  at  least  fifteen 
minutes,  renewing  the  warmth  several  times. 
Replace    with    pads    of    absorbent  cotton 


drenched  in  witch-haz,el  or  skin  tonic.  Have 
ready  a  bandage  dipped  in  ice  water  and 
place  over  the  eyes  to  keep  the  pads  in 
place.  Relax  fifteen  minutes.  If  you  give 
this  treatment  just  before  retiring,  pat  into 
the  skin,  very  gently,  an  eye  wrinkle-cream 
to  nourish  skin  and  tissues.  This  treatment 
will  result  in  rested  strengthened  eyes,  and 
the  lines  will  have  softened  or  entirely  dis- 
appeared. Exercising  the  eyes  helps,  too. 
And  the  eye  exercises,  of  which  I  have  sent 
out  so  many  hundreds  of  copies,  are  still 
available. 

Hair,  too,  shows  the  effects  of  too  much 
sun  just  as  surely  as  does  the  face.  A 
sunbath  for  the  hair  after  a  shampoo  is 
fine,  but  too  much  sun  is  almost  as  bad  for 
it  as  not  enough.  Salt  water  as  an  occa- 
sional tonic  for  falling  hair  is  good,  but 
too  much  salt  water  on  the  hair  is  very  bad. 

Perhaps  you  had  a  permanent  early  in 
the  summer,  thinking  that  it  would  cover 
all  hair  difficulties  until  fall.  You  neglected 
brushing  and  .scalp  massage;  you  sat  on  the 
beach  every  day  after  bathing,  letting  the 
hot  sun  dry  your  hair  into  a  sticky, 
gummy  mass  instead  of  rinsing  out  the  salt 
in  fresh  water.  You  forgot  all  about  tonics 
and  oil  treatments  and  the  regular  care 
that  hair  needs  regardless  of  season,  per- 
manent or  no  permanent.  And  here  you 
are  with  dry,  faded,  brittle  and  lifeless 
hair.   What  to  do? 

Ring  for  the  emergency  kit!  The  first 
thing  is  massage;  the  next  is  a  brush  or 
better  still,  two  brushes.  The  third  is  a 
tonic.  Massage  loosens  the  scalp,  quickens 
the  circulation,  and  so  nourishes  and 
strengthens  the  life  in  the  cells.  A  tight 
scalp  means  undernourished  hair — no  lovely 
sheen,  no  falling  about  the  face  in  be- 
coming lines;  just  dank,  scraggly  locks. 
Brushing  exercises  the  hair  and  gives  it 
life  and  luster.  You  always  can  tell  who 
has  brushed  and  who  has  used  brilliantine. 
There's  a  difference.  A  bit  of  brilliantine 
on  the  brush  occasionally,  helps,  but  it 
doesn't  take  the  place  of  brushing. 

Tonics  are  useful  in  several  ways:  to 
tone  up  the  scalp  to  greater  activity;  to 
cleanse  the  hair  so  that  the  natural  oils 
the  scalp  sends  up  to  the  hair  will  not 
all  be  washed  away  by  too-frequent  sham- 
pooing. The  last  reason  is  psychological. 
It  is  easier  to  massage  the  scalp  if  we  have 
a  tonic  to  massage  with. 

Oily  hair  needs  a  nourishing  tonic  every 
day  for  awhile  and  later,  two  or  three 
times  a  week,  and  twice  a  week  an  oint- 
ment massaged  in  at  night.  Wash  once 
a  month  but  brush  thoroughly  every  day. 

For  dandruff,  massage  regularly  with  a 
good  disinfectant  tonic  and  take  a  hot  oil 
treatment  every  week  or  ten  days.  Cleanse 
the  hair  and  scalp  every  day  with  tonic. 
Massage  night  and  morning. 

Give  careful  attention  to  your  make-up. 
Summer  complexions  call  for  darker  pow- 
ders than  are  used  the  rest  of  the  year. 
Your  regular  powder  will  make  your  tanned 
skin  look  whitewashed,  so  match  your  skin 
tone  as  nearly  as  you  can,  a  bit  darker 
rather  than  lighter,  if  you  can't  match  it 
exactly. 

The  trend  now  is  toward  a  natural  effect 
in  rouge.  The  medium  shades  are  best  for 
general  wear,  although  brilliant  red  is  con' 
sidered  smart  and  is  becoming  to  certain 
types. 

In  applying  rouge  remember  that  it  calls 
attention  to  the  place  where  you  put  it. 
Placed  high  on  cheek  bones,  it  makes  them 
more  prominent.    Placed  low.  it  makes  your 


for    September  1930 


115 


lower  face  seem  wider.  Placed  in  toward 
the  nose  it  narrows  the  face;  farther  out 
toward  the  temples  it  widens  it,  and  on 
the  chin  it  shortens  it.  If  you  want  to 
rival  natural  color,  avoid  edges.  Paste  rouge 
may  be  blended  with  cold  cream,  liquid 
rouge  with  water  or  skin  tonic.  Use  the 
tiniest  amount  for  each  application  while 
blending  your  rouge,  as  it  is  easier  to  add 
than  to  subtract. 

When  you  powder,  start  with  your  neck. 
Fluff  on  the  powder  with  a  clean  puff  or 
cotton,  then  fluff  it  off.  Be  careful  not  to 
leave  powder  in  the  corners  of  your  eyes 
or  the  crevices  of  your  nose.  Use  a  small 
brush  for  your  lashes  and  eyebrows. 

If  your  lashes  break  easily  and  are  dry 
and  thin,  you  can  use  on  them  an  oily 
substance  that  makes  them  appear  darker 
and  encourages  their  growth.  The  tiniest 
suggestion  of  darkener  along  the  upper  and 
lower  lid  gives  an  illusion  size  to  the  eyes 
and  of  darkness  to  the  lashes.  One  way 
to  apply  it,  is  simply  to  close  the  eyes  and 
draw  the  pencil  lightly  along  the  lashes. 
Don't  use  too  dark  a  shade  of  pencil;  al' 
most  no  one  should  use  black  eye  make-up. 
Brown,  blue  or  green  are  far  more  subtle. 

Lipstick  goes  on  last.  Use  more  at  the 
center  usually,  than  at  the  outer  corners 
of  your  mouth.  A  large  mouth  can  stand 
less  color  than  a  small  one  and  if  the  lips 
are  full,  use  lipstick  sparingly.  And  re 
member  that  lipstick  and  rouge  should  shade 
together  if  they  are  to  get  along  well  to- 
gether on  the  same  face. 

If  you  want  more  up-to-date  cosmetic 
news,  write  to  me.  And  don't  forget  that 
my  advice  on  good  looks  and  good  groom- 
ing are  yours  for  the  asking.  I'll  be  glad 
to  answer  all  questions  confidentially  and 
as  promptly  as  I  can.  Address  Anne  Van 
Alstyne,  Screenland  Magazine,  45  West 
45th  Street,  New  York  City.  Please  en- 
close stamped,  addressed  envelope  for  reply. 


Virginia  Bruce  is  a  great  bet  for 
Technicolor,    what    with    her  big 
blue  eyes  and  long  blonde  hair. 
A  pretty  picture. 


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Merely  dissolve  half  a  package  of  Linit  in  your  bath- 
bathe  in  the  usual  way,  using  your  favorite  soap — and  then 
feel  your  skin  —  soft  and  satiny  smooth! 

This  soft,  velvety  "finish"  comes  from  a  thin  coating  of 
Linit  left  on  the  skin  which  is  invisible  to  the  naked  eye.  This 
coating  of  Linit  adheres  well,  never  comesoff  on  theclothing, 
eliminates  "shine"  and  harmlessly  absorbs  perspiration. 

Starch  from  corn  is  the  main  ingredient  of  Linit — and 
being  a  pure  vegetable  product,  is  absolutely  harmless  to 
even  the  most  sensitive  skin.  In  fact,  doctors  recommend 
starch  from  corn  to  soothe  the  tender  skin  of  young  babies. 

THIS  is  the  test  that  proves  it! 

After  dissolving  a  handful  or  so  of  Linit  in  a  basin  of  warm 
water,  wash  your  hands.  The  instant  your  hands  come  in 
contact  with  the  water  you  are  aware 
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after  you  dry  your  hands  your  skin 
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LINIT  is  sold  by  your  GROCER 


the  bathway  to  a  soft,  smooth  skin 


116 


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QUEEN  MERRY 

Continued  from  page  31 


And  Nominee  Dressier  has  plenty  of 
chuckles  to  her  credit.  Forty-four  years  on 
the  stage  and  never  lost  a  laugh,  that's  Miss 
Dressler's  platform.  Away  back  in  b.  t., 
when  Custard  was  making  its  last  stand, 
she  brought  her  first  laugh  to  the  screen 
in  "Tillies  Punctured  Romance"  with 
Charlie  Chaplin  and  Mabel  Normand;  but 
comedies  were  just  comedies  in  those  days 
and  Nominee  Dressier  went  back  to  her 
first  love,  the  stage.  About  a  year  and  a 
half  ago  she  came  to  Hollywood  to  enjoy 
the  climate  but  instead  was  lured  to  the 
screen  in  "The  Callahans  and  The  Mur- 
phys."  Since  then  she  has  been  respon- 
sible  for  many  of  life's  brighter  moments,  as 
well  as  contributing  a  great  deal  of  glory 
to  the  talkies  with  such  characterizations  as 
Old  Marthy  in  "Anna  Christie"  and  as 
the  haughty,  royal  lady  in  "One  Romantic 
Night"  with  Lillian  Gish.  But  Marie  can 
be  depended  upon  to  wring  all  of  the 
drollery  out  of  any  characterization.  And 
her  latest  picture,  "Caught  Short,"  should 
bring  in  the  votes  like  magic.  Three  rous- 
ing chortles  for  Nominee  Dressier! 

What's  that?  Nominee  Dressier  casts  her 
vote  for  Polly  Moran? 

Yoo-Hoo,  Polly!  Votes  for  you,  Polly. 
Polly  Moran  on  the  Queen  of  Comedy 
ticket.  Polly  is  known  everywhere  any- 
body laughs  and  that  is  almost  everywhere. 
Many  remember  her  in  the  silent  films  when 
■she  was  "Sheriff  Nell" — when  comedy  was 
comedy  and  no  disguise,  let  the  pies  fall 
where  they  may.  Others  remember  her  as 
a  popular  vaudeville  single  touring  three 
continents;  but  for  years  Polly  has  been 
one  of  the  brighter  comedy  lights  of  the 
movies.  Her  very  latest  is  .supporting 
John  Gilbert  in  "Way  for  a  Sailor."  There's 
prestige  for  Polly! 

And  now  that  comedy  is  getting  more 
refined,  here's  Louise  Fazenda,  who  has 
long  harbored  ambitions  to  emote  instead 
of  playing  short  stop  to  a  pie.  She  has 
emerged  successfully  from  slap  stick  to 
featured  roles.  With  already  something 
over  25  successful  talking  pictures  to  her 
credit,  Louise  should  be  away  ahead  of 
the  field.  As  she  herself  admits,  she  used 
to  caricature  a  role,  but  now  she  character- 
izes instead.  And  why  shouldn't  she  have 
a  good  voice?  Anyone  would  develop 
great  vocal  powers  giving  vent  to  emo- 
tions when  a  great  deal  of  the  movie  is 
thrown  in  her  general  direction.  That's 
what  Louise  says.  See  Louise  in  "Finger 
Prints"  and  judge  for  yourself  where 
Louise  ranks  among  the  pretenders  to  the 
throne.  > 

Here's  a  surprise.  The  things  these  talk- 
ies have  done!  Zasu  Pitts,  the  lorn,  sad 
maiden  who  portrayed  slavies  and  did  such 
splendid  dramatic  work  in  "Greed,"  remem-' 
ber,  now  a  comedienne!  Yes!  Anyone  who 
saw  her  as  the  abused  wife  in  "This  Thing 
Called  Love"  or  in  "Honey"  where  she 
achieved  the  title  of  'first  wailer  of  the 
screen'  will  agree.  She  takes  her  place  on 
the  ballot. 

"Are  You  There?"  Oh,  I  say,  are  you 
there?  Yes,  you  are  there,  and  how!  It's 
Beatrice  Lillie,  don't  you  know;  Bee  to 
her  friends,  Lady  Robert  Peel  to  the  aris- 
tocracy of  England.  Nominee  Lillie  is  an 
international  star  of  Chariot's  Revues  and 
one  of  the  latest  additions  to  the  glory 
of  the  talking  screen.  Although  getting 
off  to  a  late  start,  Miss  Lillie  should  have 


no  trouble  keeping  in  the  front  row  of 
the  laughs.  Those  who  remember  her 
clowning  in  "The  Show  of  Shows,"  or 
even  her  one  silent  movie  attempt,  "Exit 
Smiling,"  will  be  glad  to  give  her  a  hand 
and  a  vote  for  the  throne  of  Queen  Merry. 
She's  all  there  in  "Are  You  There?" 

Now  we  come  to  the  youngsters,  the 
newcomers  who  are  pushing  up  steadily 
and  fast.  Well,  there's  Zelma  O'Neal, 
who  may  prove  to  be  a  dark  horse.  The 
original  'varsity  drag'  girl  of  "Good  News" 
on  the  stage,  she  has  just  completed  her 
first  role  for  Paramount  in  "Follow  Thru." 
Zelma  should  poll  a  good  many  votes  be- 
fore  the  year  is  much  older. 

And  there  is  that  zippy,  little  black-eyed 
person,  Lillian  Roth,  an  accomplished  blues 
singer,  who  got  her  first  vote  from  Mr. 
Lasky  himself  when  he  discovered  her  sing- 
ing with  Maurice  Chevalier  in  New  York. 
Since  her  joyous  antics  with  Lupino  Lane 
in  "The  Love  Parade,"  in  "Honey"  and 
"Paramount  on  Parade,"  there  are  those 
who  will  have  no  one  but  Lillian. 

A  blonde  steps  up  to  vie  with  Lillian  for 
Queenly  honors.  One  of  the  most  promis- 
ing of  the  younger  talent,  Marjorie  White, 
who  made  a  snappy  Bee  in  "Sunny  Side 
Up,"  and  brought  in  her  basket  full  of 
chortles  in  "Happy  Days."  Marjorie  pre- 
fers to  do  comedy  parts  and  apparently 
has  no  hankering  after  drama.  A  child 
wonder  of  the  stage,  she  later  toured  in 
vaudeville  with  her  sister  and  replaced  a 
Duncan  sister  in  "Topsy  and  Eva"  when 
the  Duncans  left  the  show.  Later  a  Broad- 
way hit  in  "Lady  Fingers."  Now  a  Fox 
luminary.  Many  big,  gilt  votes  for 
Marjorie! 

Then  there's  that  snappy  Inez  Courtney, 
one  of  Broadway's  favorite  comediennes, 
who  made  her  few  comedy  scenes  in  "Song 
of  the  Flame"  stand  out  like  everything. 
Votes  for  Inez! 

Perhaps  the  question  of  Queen  Merry 
will  be  left  undecided  so  long  that  little 
Mitzi  Green,  •  now  nine,  will  grow  up  to 
the  throne. 

Well,  there  you  have  it,  the  question  of 
Queen  Merry.  Who  shall  have  the  throne, 
and  if  so,  why? 


William  Powell  sans  moustache. 
He  had  to  shave  it  off  for  prison 
scenes  in  "Shadow  of  the  Law." 


for    September  1930 


117 


PARIS  PLUS  HOLLYWOOD 

Continued  jrom  page  34 


in  the  beau  monde.  And  so,  incidentally, 
that  when  these  millions  of  women  who 
model  themselves  after  the  screen  stars  step 
out  on  the  streets,  they  will  appear  as  well' 
groomed  personages,  not  like  the  tragedien- 
nes in  a  third-rate  opera  company. 

But  before  we  go  into  the  matter  of  fall 
fashions,  let  me  give  you  one  bit  of  advice. 
It  is  a  point  on  which  many  women  err. 
This  caution  should  be  the  first  definition 
in  every  girl's  fashion  dictionary: 

Don't  try  to  be  different.  Don't  imagine 
that  you  are  a  vamp,  try  to  black  your 
eyes,  wear  long  jet  earrings  and  slinky, 
tiger  frocks.  Not  one  woman  in  a  hun- 
dred  has  the  taste  or  training  to  dress  in- 
dividually. To  be  on  the  safe  side,  do  the 
accepted  thing  of  the  moment  and  don't 
try  to  'express  yourself  in  freak  clothes. 

Now  as  to  the  fall  fashions.  Paris  has 
decreed  that  femininity  shall  reign.  Skirts 
will  continue  long.  For  sports,  four  inches 
below  the  knee.  For  street  wear,  they 
shall  be  one  half  the  distance  between  the 
knee  and  ankle.  Afternoon  ensembles  shall 
be  somewhat  longer.  And  evening  dresses 
will  just  miss  the  floor  by  an  inch  or  so. 
Their  trains,  if  any,  will  not  be  too  long. 

And  here  is  something  else  to  remember. 
As  skirts  point  longer  and  longer  to  the 
floor,  more  attention  will  be  featured  on 
your  footwear.  Shoes  are  really  one  of 
the  most  fascinating  details  of  a  woman's 
costume.  If  you  will  stop  to  hear  the 
trim  heels  of  the  screen  stars  clicking  in  the 
talkies,  you  will  see  that  these  actresses 
have  as  much  personality  below  as  above 
the  ankle.  Try  to  buy  the  very  best  foot- 
wear that  you  can.  Be  sure  that  they  are 
carefully  cut  and  of  excellent  leather.  No 
matter  on  what  detail  of  your  outfit  you 
may  have  to  economize,  do  not  do  so  on 
shoes.  A  lady  is  known  by  her  gloves 
and  her  footwear,  and  nothing  is  more  dis- 
tressing than  to  see  a  tailored  girl  wear- 
ing high-heeled  satin  shoes,  or  to  observe 
a  woman  wearing  a  distinguished  costume 
of  silk  or  satin — with  brogues.  It  is  abso- 
lutely necessary  that  you  have  shoes  for 
sports,  shoes  for  the  street,  slippers  for  late 
afternoon,  and  slippers  for  evening  wear. 
It  also  proves  economical  in  the  long  run, 
to  buy  two  pairs  of  each  type  of  shoe 
needed — and  alternate.  This  will  ensure 
your  being  well-shod  throughout  the 
winter. 

The  fall  suit,  or  coat  and  skirt,  as  tailors 
sometimes  term  it,  should  be  clipped  in  a 
bit  at  the  waist,  and  mostly  will  have  a 
circular  skirt.  All  long  coats  will  be  fitted 
at  the  waist  line,  or  belted  in  closely  to  the 
figure,  or  wrapped  around  tightly  and  held 
in  position  with  a  button  or  tie. 

One  novel  aspect  of  the  coming  autumn 
fashions  will  be  the  luxuriant  velvet,  fur 
and  lace  ensemble  for  afternoon.  The 
dress  will,  of  course,  be  of  soft  sheer  velvet, 
with  a  touch  of  real  lace  and  fur  at  neck 
and  wrists  and  perhaps  a  vest  of  lace,  and 
the  three  quarters  or  long  fur-trimmed  coat, 
with  perhaps  a  muff — small  and  round,  of 
the  type  which  made  such  a  timid  debut 
last  winter — to  complete  the  picture. 

Evening  dresses  will  be  either  white,  with 
long  white  kid  gloves,  black  with  long 
black  gloves,  or  one  of  the  tender  pastel 
shades,  pale  pink,  blue,  green  or  yellow, 
for  the  younger  girls,  with  some  deeper 


and  more  violent  tinges  for  the  dashing 
young  matrons;  but  with  both  should  be 
worn  long  flesh  or  cream-colored  kid  gloves. 

In  the  evening,  naturally,  jewelry  will 
play  a  large  part.  Also  flowers,  both  nat- 
ural and  artificial,  placed  on  the  shoulder 
or  at  the  high  waist-line.  Curls,  too,  are 
modish  again.  Many  Parisian  women  are 
permitting  their  hair  to  grow  to  a  some- 
what shorter  than  shoulder  length  where 
it  may  be  worn  short,  subtly  curled,  or 
twisted  into  a  soft  knot  at  the  nape  of  the 
neck. 

As  to  fur  coats  and  hats,  these  are  points 
on  which  I  am  unable  to  give  general  di- 
rections. They  must  be  carefully  chosen  to 
enhance  the  beauty  of  the  individual  face 
and  figure.  For  unless  a  woman's  outer 
garments  please  a  man,  he  has  no  desire 
to  see  the  face  under  the  hat,  or  the 
figure  under  the  coat. 

And  now  I  expect  you  will  want  to 
know  whom  I  consider  the  best-dressed 
women  on  the  screen.  Well,  there 
are  five  or  six  who  certainly  are  outstand- 
ing. Perhaps  Lilyan  Tashman,  Claudette 
Colbert,  Kay  Francis,  Ruth  Chatterton, 
Alice  Joyce  and  Evelyn  Brent  are  the  first 
choices.  Of  course,  Hedda  Hopper  is  won- 
derful; and  Florence  Vidor,  now  Mrs. 
Jascha  Heifetz,  a  joy. 

Jean  Arthur  has  made  more  improve' 
ment  in  clothes  than  any  girl  I  ever  saw. 
She  has  a  real  style  flair  now.  But  at  first 
— well,  the  first  day  I  saw  her,  she  was 
standing  alone  on  the  lot,  dressed  in  a 
way  which  certainly  did  not  improve  her. 
Pretty  soon,,  she  walked  over  to  me  and 
said:  "I'm  not  so  sure  I  know  a  lot  about 
clothes.  Take  these  shoes  of  mine,"  she 
said,  gazing  down  at  her  small  feet,  "they 
look — just  a  little  bit  Hollywood.  Won't 
you  tell  me  what  to  do?" 

Today  Jean  can  hold  her  own  at  any 
luncheon  party,  soiree,  or  reception  on  earth. 
She  has  developed,  mind  you,  a  real,  not  an 
imitation  style  flair,  because  she  has  given 
time  and  thought  to  it.  She  has  a  lovely 
figure  and  has  created  a  type  for  herself. 
It  is  not  the  ingenue  type,  but  more  what 
the  French  call  jeune  fille.  She  wears  just 
the  sort  of  thing  any  nice,  distinguished 
young  society  girl  would  wear. 

Evelyn  Brent  is  one  girl  I  have  never 
had  an  argument  with.  At  first,  all  her 
clothes  had  to  be  slightly  spectacular  be- 
cause she  was  doing  those  wonderful  un- 
derworld roles  all  the  time.  It's  only  re- 
cently that  Betty,  as  everybody  calls  her, 
has  had  a  chance  to  wear  real  clothes,  trail- 
ing evening  dresses,  smart  afternoon  en- 
sembles and  such  things.  She  is  easy  to 
please,  has  a  dramatic  style  of  beauty  which 
is  a  pleasure  to  design  clothes  for,  and  is 
one  of  the  most  popular  girls  in  the  film 
colony. 

Ruth  Chatterton  is  wonderful  to  work 
with.  She  gets  more  kick  out  of  character 
parts  than  any  other  kind.  When  I  did  her 
clothes  for  "Sarah  and  Son,"  I  got  a  tre- 
mendous thrill  out  of  it  myself  because 
she  was  so  excited.  But  when  it  comes  to 
other  clothes,  she  doesn't  bother  much: 
"I  don't  want  a  fitting,  Travis,  unless  you 
absolutely  must  have  it,"  she  always  says. 
And  if  I  must,  when  the  dress  is  on  her, 
I  say:  "How  is  it?"  She  always  answers: 
"I  love  it — are  you  through?" 


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118 


Speaking  of  Girls— 


Flo  Ziegfeld 

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SCREENLAND 
NEWS!  —  NANCY  CARROLL 

Continued  from  page  55 


Is  reformed."  But  Nancy  Carroll  so  trans- 
figures  the  trite  substance  of  this  story  by 
her  acting,  that  she  tears  love,  beauty, 
passion,  out  of  thin  air  and  presses  it  into 
your  heart  and  hands.  In  other  words, 
her  acting  knocks  you  right  out  of  your 
seat  into  the  aisle.  And  you  don't  come 
to  until  you  stumble  out  into  the  street, 
into  the  everyday  atmosphere  of  realism. 

Nancy  came  to  New  York  to  make  her 
next  picture,  "Laughter."  And  the  editor 
sent  me  up  to  see  her  to  find  out  how 
come  this  transformation.  For  Miss  Evans 
was  as  impressed  as  anybody  by  the 
strength  and  beauty  of  Nancy's  work.  And 
when  our  editor  gets  excited  over  a  motion 
picture,  it's  apt  to  be  a  pretty  fine  product. 

But  when  I  met  Nancy  at  her  hotel  I 
didn't  ask  her  anything.  I  couldn't.  I  sat 
there,  chin  dropping,  eyes  bulging,  looking 
at  Nancy's  hair. 

Now  a  man  wouldn't  know  about  such 
things,  so  at  first  I  thought  Miss  Carroll's 
hair  couldn't  really  be  that  shade  of  golden 
red.  I  thought  it  must  be  dyed.  But  it's 
not.  I  realized,  after  a  little  bit,  that  no 
human  hairdresser  could  ever  quite  get 
that  color  into  a  person's  hair.  I  don't 
even  know  now  how  to  describe  it.  Maybe 
if  you  took  the  color  in  the  red  wings  of 
a  red-winged  black  bird  and  crossed  it  with 
the  gold  in  the  breast  of  an  oriole,  you'll 
get  some  idea  of  what  that  girl's  hair  is 
like. 

All  this  time,  Nancy  was  talking.  But 
I  couldn't  make  much  sense  out  of  what 
she  was  saying.  We  got  in  an  elevator, 
went  to  the  dining  room,  and  Nancy 
ordered  tea.  But  I  still  didn't  take  in 
much.  My  eyes  were  so  full  of  looking, 
my  ears  weren't  working. 

Finally,  after  I  had  discovered  that  Miss 
Carroll  had  flame-red-gold-bronze-yellow 
hair,  according  to  the  way  the  light  struck 
it,  green-blue-gray  eyes,  according  to  the 
thoughts   that   were   passing   through  her 


mind  at  the  moment,  a  child's  soft  rounded 
nose,  a  child's  soft  untouched  mouth,  the 
words  this  actress  was  saying  began  to 
take  form: 

"From  the  time  I  first  went  on  the 
stage,"  she  was  saying,  as  she  drank  her 
tea  with  lots  of  sugar  and  ate  many  little 
petitS'fours,  one  after  the  other,  "I  wanted 
to  be  an  actress — a  character  actress,  not 
a  chorus  girl.  But  the  moment  I  took  off 
my  hat,  and  that's  the  first  thing  a  manager 
asks  you  to  do  when  you  go  to  apply  for 
a  job — every  manager  without  exception 
would  say:  "You  must  go  into  musical 
comedy.  You're  just  the  type.  No  chance 
for  you  in  a  dramatic  production.' 

"I  was  a  cutie,  they  thought.  And  noth- 
ing I  could  do  or  say  would  convince  them 
otherwise.  And  so  I  sang,  and  did  my  tap 
dances,  in  two  Music  Box  revues  with 
Fannie  Brice  and  Lupino  Lane.  In  'The 
Topics  of  1923'  opposite  Donald  Brian. 
Musical  comedies,  musical  comedies — one 
after  the  other.  Summer  and  winter.  Legs, 
songs,  fluffy  hair,  and  smiles — and  at  the 
end  of  it  all  weariness  and  disgust.  Mad 
as  I  was  about  the  theater,  and  I  always 
have  been  and  always  shall  be,  I  couldn't 
get  a  chance  to  do  the  one  thing  I  wanted 
to  do — or  die  " 

Nancy's  quiet  voice  faded.  She  locked 
her  slender  fingers  together  and  sat  back. 
And  here's  a  strange  thing.  Nancy's 
fingers  aren't  artistic.  They  are  bent  back 
at  the  ends  like  a  banker's.  And  both  her 
forefingers  are  as  crooked  as  twigs.  I  am 
sure  she  is  acquisitive,  that  no  spendthrift 
blood  runs  in  her  veins.  • 

And  here's  a  second  curious  thing  that 
struck  me  about  Miss  Carroll.  Her  voice! 
Usually  when  a  person  born  in  humble 
circumstances  pulls  herself  out  of  poverty 
and  obscurity,  her  background  shows  up 
most  plainly  in  her  voice.  She  may  study 
and  be  drilled  by  the  best  experts  in  voice 
production  .and  enunciation,  but  either  a 


James  McHugh  and  Dorothy  Fields,  song  writers.  They  have  written 
some  of  the  theme  songs  you've  been  singing. 


for    September  1930 

too  studied  pronunciation  will  betray  her, 
or  an  occasional  lapse  into  the  vernacular 
of  her  childhood.  But  not  Nancy.  Her 
diction  is  perfect,  clear,  natural.  She  speaks 
like  a  Boston  Cabot  (and  you  know  the 
old  verse  says:  "The  Lowells  speak  only 
to  Cabots,  and  the  Cabots  speak  only 
to  God") — and  makes  you  like  it  and 
think  it's  real. 

There's  a  third  thing  I  discovered  about 
Nancy,  too.  She  has  a  brain.  An  ana- 
lyrical  brain.  She  figures  out  things  quietly 
and  clearly  for  herself.  Uses  few  but 
forcible  words,  and  I  would  be  willing  to 
swear,  would  sacrifice  anything  to  attain 
a  position  on  which  she  had  set  her  heart. 
I  don't  mean  that  she's  cruel.  Ruthless, 
rather.  She  knows  what  she's  worth.  She's 
climbed  up  a  steep  trail.  And  it's  put 
quicksilver  into  her  brain  and  steel  into 
her  spine. 

As  Nancy  sat  there  quietly  and  went 
on  with  her  story  I  wondered  what  trouble 
could  have  so  enveloped  her  with  a  tragedy 
so  strong  that  it  never  leaves  her  eyes  or 
her  voice.     I  pondered  this  as  she  said: 

"Two  years  ago  I  went  to  California 
wondering  if  anybody  would  give  me  a 
chance  in  pictures.  Luckily  for  me,  when 
talkies  broke,  I  could  sing  and  dance. 
That  gave  me  my  chance. 

"But  the  opportunity  I  had  longed  for 
all  my  life — to  do  a  real  character  part — 
did  not  come  until  I  was  given  the  role 
of  Bonnie  in  'The  Dance  of  Life.'  But 
when  I  started  to  work  there  was  a  peculiar 
atmosphere  around  the  lot.  As  if  every 
body  were  saying:  'Poor  Nancy.  She's 
all  right.  But  how  can  she  hope  to  play 
that  part?' 

"I  did  play  it.  And  loved  it.  But 
almost  the  next  day  I  was  thrust  back  into 
the  same  old  singing  and  dancing  roles 
as  before.  But  little  by  little  I  got  my 
chance.  And  then  came  'Devil's  Holiday.' 
And  certainly  the  credit  for  this  picture 
goes  to  Edmund  Goulding,  the  director. 
He  is  wonderful.  He  wrote  it,  and  directed 
it.  He  can  write,  act,  sing,  compose — 
he  can  do  anything,"  Nancy  finished. 


119 


Nevertheless,  even  with  a  great  director, 
"Devil's  Holiday"'  would  not  have  been 
such  a  fine  picture  without  the  pathos  and 
sweetness  Nancy  pours  into  it. 

"There's  been  a  lot  of  talk  about  me 
lately,"  Nancy  said,  "about  how  high-hat 
I  am,  how  hard  I  am  to  get  on  with, 
and  all  that.  The  whole  thing  discourages 
me  very  much.  Particularly  when  people 
think  I'm  high-hat.  Somebody  will  say: 
'I  passed  you  on  the  lot  the  other  day  and 
you  didn't  even  speak  to  me."  The  truth 
of  the  matter  is,  when  I'm  working  I 
actually  don't  see  people.  I  get  so  excited, 
so  absorbed  in  my  work,  wondering  how 
I'll  handle  that  speech — that  I  actually  go 
around  in  a  dase.  I  wouldn't  cut  any- 
body. Nobody  can  get  along  without 
friends.  A  movie  actress  least  of  all.  And 
every  one  I  have  I  want  to  keep.  So, 
please  believe  me  when  I  say  that  it  is 
only  my  eager  absorption  to  make  good  for 
the  fans  who  have  made  me,  not  any  desire 
to  separate  myself  from  other  people,  that 
may  have  kept  me  from  speaking  to  the 
friends  I  know  and  love. 

"I'm  really  a  terribly  friendly  person, 
by  nature.  At  night  I'm  a  regular  tired 
business  man.  I  could  no  more  go  home 
and  go  to  sleep  without  some  diversion — 
going  to  a  party,  or  to  some  friend's  house, 
or  to  see  a  picture,  than  any  other  work- 
ing man.  I  love  people — lights — music — 
dancing — that  make  you  forget  the  worries 
of  the  day  that  is  past." 

And  that's  just  what  "Devil's  Holiday" 
does  to  you.  When  we  see  and  hear  it, 
all  the  misery  and  trouble  of  our  present 
is  obliterated  and  instead,  we  find  beauty, 
love,  passion — all  the  things  we  have  longed 
for — and  sometimes  vainly — right  in  our 
arms.  In  this  film,  Nancy  Carroll  drops 
the  garments  of  her  obscure  past,  and  alone, 
on  her  own  dramatic  interpretation,  rises 
to  a  height  which  has  scarcely  ever  been 
reached  before  in  silent  or  talking  motion 
picture  history.  The  little  Broadway  tap 
dancer  becomes  a  Bernhardt  of  the  talkies — 
at  last,  Nancy  Carroll,  the  barefoot  Irish  girl 
of  twenty  years  ago,  becomes  a  dramatic 
actress. 


IT  KEEPS  EYES 

CLEAR 

There's  no  excuse  for  dull, 
bloodshot  eyes  when  a  few 
drops  of  Murine  each  day  will 
keep  them  clear  and  bright. 
It  dissolves  the  dust-laden 
film  of  mucus  that  makes  eyes 
look  dull,  and  speedily  ends 
any  bloodshot  condition  re- 
sulting from  late  hours,  over- 
use, crying  or  prolonged  expo- 
sure to  the  elements. 
This  soothing,  cooling  lotion  is 
entirely  free  from  belladonna 
and  other  harmful  ingredients. 
60c  at  drug  and  toilet  counters. 


Hi 


URINE, 
ey'es 


SAFE  LIQUID 

/-  ENDS 

Corns 


Lillian  and  Anne  Roth  were  joined  professionally  for  the  first  time 
in  several  years  in  "Madame  Satan."   They  used  to  be  a  sister  team 

in  vaudeville. 


Deaden  pain  instantly 

ONE  drop  of  this  amazing  liquid  and  soon 
any  corn  or  callus  shrivels  up  and  loosens. 
Peel  it  off  -with  your  fingers  like  dead  skin. 
Don't  risk  dangerous  paring.  Removes  the 
whole  corn.  Acts  instantly,  like  a  local  anaes- 
thetic, to  stop  pain  while  it  works.  Doctors 
approve  it. 

Satisfaction  guaranteed.  "Works  alike  on  any 
corn  or  callus — old  or  new,  hard  or  soft. 


"GETS- IT" 


World's 
Fastest  Way 


120 


SCREENLAND 


Chicago 

Exposed ! 

The  Inside  Story  of  Why  "Jake" 
Lingle,  Chicago  Tribune 
Reporter,  Was  Killed 

Complete  in 
the  September 

REAL  DETECTIVE  TALES 

When  Alfred  ("Jake")  Lingle, 
Tribune  reporter,  was  shot  down 
and  killed  at  high  noon  in  the 
heart  of  Chicago,  on  June  9  of 
this  year,  the  sensation  was  felt 
throughout  America. 

Newspapers  everywhere  have 
played  up  this  greatest  of  all 
crime  stories.  But  not  one  news- 
paper has  printed  the  real  facts. 
These  facts  are  published  for  the 
first  time  in  this  month's  issue  of 

REAL  DETECTIVE  TALES. 

Read 

The  Reporter  Who  Blew 
the  Lid  Off  Chicago" 

See  how  the  "big  shots"  of 
Chicago's  underworld  have  cor- 
rupted not  only  the  police  and 
men  in  public  office,  but  even  the 
Chicago  newspapers. 

Behind  the  murder  of  "Jake" 
Lingle  lies  an  appalling  record  of 
crime  and  graftthat  has  noparallel. 
The  whole  sensational  story  is 
told,  completely  and  in  detail,  in 
America's  fastest  growing  de- 
tective magazine 


// 


LOOK  FOR  THIS  COVER 


Now  on  Sale  at  All  News  Stands 


THEY  WANT  TO  BE  DIFFERENT  —  Continued  from  page  53 


land"  than  anything  else.  But  maybe  Alice 
was  esoteric  and  it's  taken  me  all  these 
years  to  find  it  out! 

Dorothy  Sebastian  has  an  attractively 
furnished  bungalow  done  entirely  in  the 
modernistic  manner.  "I  like  modernistic 
things.  They  make  you  feel  you  are  pre 
gressing.  Entertaining,  for  instance,  used 
to  be  such  a  routine  affair.  You  merely 
invited  people  to  the  house,  fed  them  well 
from  an  over-laden  table  and  offered  a  little 
music  or  cards  by  way  of  diversion.  Now, 
the  clever  hostess  may  have  no  end  of 
originality  in  her  methods."  True,  indeed, 
Dorothy,  for  instance,  invites  people  to 
luncheon.  If,  at  the  last  moment,  she 
decides  it  was  a  mistake  to  ask  them,  she 
simply  disappears  and  leaves  word  that  she 
has  been  suddenly  called  to  the  studio.  If 
the  guests  are  modernistic,  they  understand 
and  take  no  offence. 

On  the  other  hand,  if  she  decides  really 
to  go  ahead  and  feed  them,  there  are  all 
the  modernistic  accessories  with  which  to 
express  her  personality.  "In  the  first 
place,"  she  explains,  "there's  the  table.  The 
moderne  influence  has  introduced  gay- 
colored  chinas  and  glasses.  One  evening 
you  may  use  a  dark  blue  plate  and  water 
glass  idea  for  an  informal  dinner.  The 
next  may  see  brightly  colored  rose  glasses 
on  the  table.  It  makes  the  home  dinner 
a  pleasure  instead  of  a  routine. 

"In  the  second  place,  there's  the  drawing 
room.  The  new  furniture  tends  towards 
intimacy  and  friendly  chatter.  It  conforms 
more  closely  to  the  human  body  than  the 
furniture  of  any  other  period.  Besides,  it's 
tremendously  chic  and  smart."  She  paused 
and  swept  her  own  drawing  room  with 
her  eyes.  "I  want  only  up-to-date  things 
about  me." 

I  hope  I  may  be  forgiven  for  showing 
her  the  diamond  filling  in  my  tooth  as  proof 
of  my  up-to-date-ness! 

Where  Mr.  Gay  Dog  of  the  So-and-So 
Insurance  Company  might  think  he  was 
being  very  daring  by  decorating  his  home 
in  the  futuristic  black  and  white  effect, 
Charlie  Mack  of  the  Two  Black  Crows  has 
no  such  scruples.  He  has  a  modest  little 
mansion  of  twenty-two  rooms  and  eleven 
baths  done  entirely  in  cubes  and  oblongs, 
not  to  mention  verticles  and  horizontals. 

This  sort  of  thing  might  make  the  other 
fellow  a  little  dizzy,  but  Mr.  Mack  finds  it 
refreshingly  different.  "Actors  are  among 
those  chosen  people  of  the  earth  who  can 
do  pretty  much  as  they  please.  A  busi- 
ness man  is  always  handicapped  by  what 
people  will  think  of  him.  An  actor  has 
only  to  hope  that  people  will  talk  about  him. 
Now,  some  folks  might  think  it  was  dizzy 
to  have  a  living  room  done  in  a  sort  of 
coral-peach  tone,  with.. chairs  of  faded  rose, 
gray  beige.  You  see,  'over  there  I  have 
a  dull  green  divan  and  a  black  piano 
treated  with  red  high-lights.  The  carpet  is 
pictured  instead;  of  flowered.'  Even  the 
bird  cage  is  just  a  little  crazy." 

Crazy  is  right.  It  is  so  modernistic  that 
instead  of  hearing  the  canary  sing  The 
Echo  Song  from  "William  Tell,"  which  is 
what  all  good  Swiss  canaries  sing,  I  ex- 
pected to  hear  him  burst  into  the  Rhapsody 
in  Blue. 

Lillian  Roth  came  to  the  screen  via  the 
Ziegfeld  "Midnight  Frolic"  and  Earl  Car- 
roll's "Vanities."  With  her,  modernism 
(that  is,  going  the  other  fellow  one  better) 
finds  its  outlet  in  jewelry. 

"I  love  to  wear  something  entirely  dif- 
ferent from  anything  possessed  by  anyone 
else    she    explained.      I    am    much  more 


flattered  when  someone  comments  on  some 
unusual  trinket  of  mine  than  when  they 
admire  a  new  gown  or  hat.  Nothing  makes 
a  wardrobe  more  startling  than  novelty 
jewelry.  I  love  this  moderne  idea  of  setting, 
for  the  simple  reason  that  it  is  distinctive 
and  beautiful  without  being  overly  ex- 
pensive. 

"It  would  take  a  millionaire  to  have 
jewelry  to  match  every  costume  if  we  stuck 
to  the  old-fashioned  idea  of  real  diamonds, 
rubies,  sapphires  and  emeralds.  Besides, 
those  jewels  are  practically  suited  only  to 
evening  wear  and  how  many  of  us  go  to 
enough  formal  functions  to  warrant  such 
jewels  even  if  we  were  lucky  enough  to  be 
able  to  afford  them? 

"On  the  other  hand,  modern  clothes  are 
so  simple  they  must  have  some  sort  of 
ornament  to  relieve  the  severity.  With  the 
coming  of  the  ensemble,  matching  jewelry 
was  a  natural  outgrowth.  For  instance,  take 
this  outfit  I'm  wearing.  A  genuine 
Chinese  jade  set  consisting  of  necklace, 
bracelet,  ring  and  ear-rings.  It  will  go 
with  any  white  or  green  costume  and  the 
complete  set  didn't  cost  nearly  as  much  as 
a  dinner  ring.  Zircon  is  another  effective 
stone.  Crystals.  Russian  lapis  lazuli.  Rose 
quartz.  These  stones  adapt  themselves  won- 
derfully to  a  novelty  setting — and  it's  nice 
to  be  distinctive,  even  in  your  jewelry,  isn't 
it?" 

Just  as  I  warned  you — no  detail  is  too 
small  to  be  overlooked  in  the  creed  of — 
and  lust  for — distinction. 

When  I  started  out  to  gather  data  for 
this  symposium  I  thought  I  might  find  men- 
tal stimulation  in  the  viewpoints  of  some 
of  the  stars.  Believe  me,  it  was  all  of  that. 
But  being  different  is  just  the  usual  thing 
in  Hollywood! 


Lupino  Lane  has  what  it  takes  to 
make  a  talking  picture  comedian. 
He  sings,   dances,  and   is  really 
funny. 


for    September  1930 

OTIS  SKINNER'S  FIRST  DAY  IN  A  TALKIE  STUDIO 

Continued  from  page  25 


121 


so  meagre  that  they  cannot  be  draped 
on  the  hangers,  in  which  case  ribbons  tie 
them  securely.  Imagine  it — filthy  burlap 
shreds  on  velvet  hangers  tied  with  ribbon! 

After  a  few  minor  adjustments  by  Skin- 
ner himself,  such  as  recommending  that  the 
rags  be  shortened  to  B.V.D.  length  instead 
of  coming  down  to  his  knees,  and  offering 
his  opinion  that  one  of  the  rags  seemed 
too  pretty  to  fit  in  with  the  tout  ensemble, 
he  departed  for  his  dressing  room. 

Nelson  helped  him  on  and  off  with  his 
costume,  during  which  time  he  ran  through 
a  sheaf  of  mail  a  foot  high.  From  there 
he  went  back  to  the  make-up  department 
to  have  his  face  made  up.  The  first  thing 
he  did  when  he  entered  the  room  was  to 
pull  the  curtains  together. 

Westmore,  the  make-up  man,  looked  per- 
plexed. Skinner  suddenly  reminded  himself 
that  he  was  not  being  made  up  for  the 
theater  but  for  motion  pictures.  For  fifty- 
three  years  his  first  act  in  a  dressing  room 
had  been  to  pull  the  curtains  together  and 
create  the  effect  of  artificial  lighting.  You 
never  see  daylight  depicted  on  the  stage. 
He  apologized  profusely. 

And  then  began  a  two-hour  job  of  paint- 
ing and  glueing.  The  application  of  cos- 
metics only  needed  half  an  hour,  but  the 
beard  took  longer.  On  the  stage  a  beard 
is  a  mop  of  hair  on  a  foundation  of  linen, 
the  whole  of  which  pastes  on  the  face. 
This  is  not  the  way  beards  are  put  on 
screen  players.  The  role  of  Hajj  required 
a  scraggly  stubble  of  unkempt  hair  to  roam 
over  Skinner's  features,  varying  in  length 
from  an  inch  to  three  or  four  inches. 

First,  Skinner's  face  was  smeared  with 
spirit  gum.  Then  Westmore  took  foot-long 
strands  of  real  hair,  white,  and  stuck  them 
to  the  gum.  Just  a  few  strands  at  a  time 
were  applied,  and  after  an  hour  and  a  half 
Skinner  had  a  flowing  white  beard  one  foot 
long  that  even  on  close  inspection  seemed 
to  be  growing  out  of  his  face.  This  was 
subsequently  tailored  and  darkened  to  suit, 
and  generally  given  the  appearance  of  never 
having  seen  a  Bagdad  barber  of  the  eighth 


century,  let  alone  a  Gillette  safety  razor. 

By  this  time  it  was  noon  and  Skinner 
partook  of  one  bun  and  one  glass  of  milk. 
He  really  wanted  something  more  substan- 
tial, but  his  screen  test  involved  eating  a 
huge  crust  of  bread,  and  for  all  he  knew 
the  rehearsals  would  have  to  run  into  loaves. 

About  one  o'clock  John  Francis  Dillon, 
who  is  directing  "Kismet"  for  First 
National,  poked  into  the  dressing  room, 
and  they  both  left  for  Stage  Four.  It  is 
Dillon's  practice,  although  this  is  not 
general,  to  be  present  at  the  screen  tests 
of  his  featured  players.  Robert  North, 
production  executive,  was  also  present,  a 
tribute  indeed  to  Skinner, 

Skinner  squatted  down,  beggar  fashion, 
on  a  slab  of  stone,  and  dozed.  This  was 
all  rehearsal.  From  the  deep  Skinner  chest 
came  the  most  realistic  asthmatic  snores  it 
has  ever  been  the  privilege  of  First  National 
to  record.  Slowly  Skinner  yawned,  a  beau- 
tiful Skinner  yawn,  making  the  common- 
place morning  noises  that  seem  so  strange 
when  acted  by  another.  Supplicatingly, 
whining: 

"In  the  name  of  Allah — day?  Alms  for 
the  love  of  Allah!  For  the  love  of  Allah, 
alms!" 

The  priest  gives  him  a  small  round  loaf. 

"Verily,  thy  good  deeds  shall  witness  for 
thee  on  the  day  of  judgement,  O 
Mahmud."  And  on  and  on,  through  alter- 
nate ranting  and  pleading,  praying  and 
cursing,  as  difficult  a  sequence  as  one  can 
imagine.  The  rehearsal  is  completed.  Dil- 
lon suggests  that  the  yawn  come  a  bit 
slower.  Immediately — for  Skinner  needs  no 
primping  and  'getting  in  the  mood'  inter- 
lude— Dillon  cries,  "Camera!" 

Supplicatingly,  whining: 

"In  the  name  of  Allah — day?  Alms  for 
the  love  of  Allah!"  and  so  clear  through 
the  sequence;  not  one  error,  not  one  cor- 
rection. Dillon  and  North  just  smile.  Mr. 
Skinner  is  excused  for  the  day.  On  the 
way  out  you  hear  the  executives  comment- 
ing. "Oh,  well,  fifty-three  years  of  acting!" 


27  Lbs.  Gone 

"Have  reduced  so  far  27  lbs. 
and  everybody  says  I  look 
10  years  younger.  What  an 
improvement  your  way  has 
meant  to  me!" — Mrs.  L.  S,. 
St.    Louis,  Mo. 

Reduces  Hips  6  Inches 

"I  feel  fine.  I  have  reduced 
my  liips  6  inches.  My  whole 
figure  has  improved  in  out- 
line."—Mrs.  J.  C.  M., 
Sherbrooke,    Que.,  Canada. 

Looks  Five  Years 
Younger 

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My  stomach,  abdomen,  waist 
and  thighs  have  reduced  to 
proportion  and  my  flesh  is 
firmer.  I  look  5  years 
younger." — Miss  A.  M.  L., 
Pawtucket,    R.  I. 

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be  wrecked  sooner  or  later  anyway,  told 
her  lodgers  that  they  might  have  anything 
in  the  house  they  wanted. 

Joe  chose  a  large  grandfather  clock  that 
reposed  in  the  hall.  A  fellow  lodger  helped 
him  to  drag  it  out  into  the  street  but  he 
was  unable  to  manipulate  it  successfully 
from  there.  Loath  to  leave  his  treasure 
he  turned  it  up  sideways  and  sat  upon  it 
while  he  thoroughly  enjoyed  the  spectacle 
that  took  place  before  his  delighted  eyes. 
Although  panicstricken  people  rushed  about 
him  he  was  not  in  the  least  frightened. 

Joe,  like  the  best  of  comedians,  has  in  his 
time  fallen  heir  to  his  share  of  aches.  But 
fortunately,  or  unfortunately,  as  you  will, 
they  were  not  of  the  heart  variety.  They 
usually  occurred  in  the  most  tangible  and 
painful  regions. 

There  was  the  time  after  he  had  left  the 
Ashtons  to  go  with  a  manager  who  treated 
him  very  little  better.  The  manager  was 
the  ground  man  in  the  act.  He  had  de- 
cided  upon  a  very  difficult  trick  tumble  he 
wanted  Joe  to  execute. 

The  first  night  the  tumble  was  used  in 
the  act  Joe  didn't  do  it  the  way  the  manager 
wanted  him  to.  The  next  day  Joe  was  told 
that  if  he  didn't  perform  the  tumble  ac- 
cording  to  instructions  something  would 
happen  he  would  long  remember.  And  it 
did  happen! 

After  Joe  went  into  the  tumble  the  second 
night  the  manager,  who  was  supposed  to 
catch  him,  turned  and  went  off  the  stage. 
Joe  fell  on  the  floor  and  broke  his  leg. 
He  can  now  truthfully  say  he  has  suffered 
for  his  art  when  he  remembers  being 
stranded  in  a  tank  town  with  a  broken  leg 
and  no  money. 

Better  times  followed  and  Joe  abandoned 
acrobatics  for  straight  clowning.  One  sum- 
mer he  played  professional  baseball  in  St. 
Paul.  He  was  still  in  vaudeville  but  he 
wanted  to  get  into  musical  comedy.  His 
first  opportunity  came  in  New  York  with 
a  burlesque  show.  But  from  burlesque  to 
Broadway  musical  comedy  is  a  long  jump. 
Finally  he  was  given  a  good  part  in  "Listen 
Lester"  but  an  Equity  strike  was  called  and 
the  show  folded  up  after  a  week's  rehearsal. 
Several  weeks  later  when  his  first  son  was 
born  he  was  out  of  a  job  and  flat  broke. 

After  months  of  idleness  he  was  featured 
in  "Jim  Jam  Jems,"  which  was  followed  by 
roles  in  "Betty  Lee,"  "Greenwich  Village 
Follies,"  and  "Captain  Jinks."  His  biggest 
Broadway  hit  was  in  "Twinkle  Twinkle," 
during  the  run  of  which  he  was  elevated 
to  stardom  on  the  twentyfifth  anniversary 
of  his  entry  into  the  show  business. 

While  on  tour  with  "Twinkle  Twinkle" 
he  was  offered  a  part  in  "Crooks  Can't 
Win,"  an  FBO  picture  produced  in  1928. 
He  immediately  clicked  as  a  comedian  and 
appeared  in  "Hit  of  the  Show"  and  other 
successful  silent  pictures.  It  was  the  talkies, 
however,  that  set  him  definitely  among  the 
big  movie  names.  After  his  performances 
in  "Sally"  and  "Hold  Everything"  he  was 
put  under  long  term  contract  to  First 
National  and  is  being  developed  as  one  of 
that  company's  biggest  attractions. 

Mister  Brown — you'll  forgive  us  for 
having  lapsed  into  the  familiarity  of  calling 
him  Joe  while  telling  about  his  childhood — 


is  now  on  top  of  the  talkie  heap. 

He  is  almost  without  a  serious  contender 
because  his  brand  of  fun  is  peculiarly  his 
own.  He  is  taking  his  place  along  with 
Buster  Keaton,  Harold  Lloyd,  Eddie  Cantor, 
and  other  big-time  comic  thespians  who 
have  individualized  talent  to  offer  to  the 
great  art  of  being  funny. 

Some  people  say  he  is  conceited  but  his 
is  an  impersonal  kind  of  ego  that  never 
offends.  Joe  E.  Brown,  the  comedian,  is' 
a  person  separate  and  apart  from  the  Mister 
Brown  who  lives  on  Harper  Street  in 
Hollywood. 

He  finds  Actor  Brown  a  business  to  be 
taken  as  seriously  as  a  broker  studies  his 
bonds.  For  that  reason  he  fights  spiritedly 
for  billing,  fat  parts,  and  any  other  con- 
sideration he  thinks  will  get  Actor  Brown 
ahead.  It's  no  secret  that  after  the  re- 
lease of  "Hold  Everything"  he  succeeded 
in  having  the  posters  recalled  and  his  name 
placed  in  a  more  prominent  position. 

He  considers  his  name  his  most  valuable 
asset  and  his  ambition  is  to  have  'Joe  E. 
Brown'  mean  the  same  thing  to  a  picture 
that  sterling  does  on  silver. 

Although  he  appears  to  be  much  larger 
he  is  only  five  feet,  eight  inches  tall  and 
tips  the  scales  at  14?  pounds.  He  loves 
nothing  better  than  an  audience,  which  ac- 
counts for  the  fact  that  he  is  always  very 
much  seen  and  heard  on  the  set.  He  likes 
to  act  as  master  of  ceremonies. 

He  is  a  confirmed  family  man.  Mrs. 
Brown  is  a  thoroughly  charming  woman 
who  is  in  every  sense  of  the  word  pretty. 
His  all-consuming  interest  is  his  two  sons, 
Don  Evan,  aged  13,  and  Joe  LeRoy,  aged 
11.    He  calls  them  his  fellows. 

His  favorite  foods  are  Chicken  Knicker- 
bocker Supreme  and  Neri  salad,  which  is 
made  with  lettuce,  grapefruit,  tomatoes, 
oranges,  and  oil  dressing.  He  thinks  tripe 
the  world's,  poorest  excuse  for  food.  His 
favorite  author  is  Grimm,  his  favorite  book 
the  Bible,  and  his  favorite  song  is  "Home, 
Sweet  Home."  He  likes  Gloria  Swanson's 
work  better  than  that  of  any  other  actress 
and  agrees  with  critics  who  call  Charlie 
Chaplin  the  screen's  foremost  actor. 

No  matter  how  late  the  hour  he  arrives 
home  he  always  has  to  read  in  bed  before 
he  can  go  to  sleep.  He  recently  ordered 
a  specially-built  foreign  limousine  which 
will  cost  him  approximately  $30,000. 

Mister  Brown  is  always  smartly  turned 
out.  He  looks  very  personable  in  his  street 
clothes  and  one  has  to  look  twice  to  rec- 
ognize Actor  Brown.  He  hates  being 
called  ugly,  and  platitudes  to  the  effect  that 
"handsome  is,  handsome  does." 

Loyalty  is  perhaps  his  greatest  virtue.  He 
is  tremendously '  grateful  to  everyone  who 
has  helped  him  in  any  way,  no  matter  how 
inconsequential  the  favor.  Ralph  Ince,  who 
directed  his  first  picture,  is  one  of  his 
best  friends. 

He  thinks  acrobatics  are  valuable  in  de- 
veloping character.  He  says  if  one  has  con- 
fidence in  his  ability  to  do  what  he  pleases 
with  his  body  he  has  the  foundation  of 
something  fine. 

He  insists  that  it  has  no  special  signifi- 
cance, but  Mr.  Brown's  favorite  color  is 
— brown! 


for    September  1930 


HIGH  SOCIETY  IN  HOLLYWOOD 

Continued  from  page  63 


There  was  a  charming  Spanish  orchestra, 
which  played  throughout  the  evening,  in 
the  patio  where  you  danced  under  the  soft 
lights  if  you  wished;  or  if  you  preferred, 
you  lounged  on  the  comfy  swings  and  other 
outdoor  furnishings.  The  buffet  supper 
was  a  Spanish  feast,  very  delectable. 

The  very  last  thing  was  awarding  of  the 
prizes  for  the  best  costume.  Every  one 
paraded  before  the  committee,  made  up 
of  Robert  Leonard,  Herman  Mankiewicz 
and  Edwin  Knopf.  The  judges  seemed  to 
take  their  task  very  seriously,  looking  each 
candidate  over  carefully,  making  them 
dance,  singly  and  then  in  couples,  after 
which,  when  the  rigmarole  had  been  going 
on  a  long  time,  they  put  their  heads  to- 
gether, frowning,  shaking  their  heads,  seem.' 
ing  to  argue — and  then  awarded  the  prize, 
a  bottle  of  French  perfume,  to  M.  C. 
Levee,  who  had  worn  only  his  evening 
clothes  and  a  tiny  black  lace  mask  over 
his  eyes! 

"Bebe  Daniels  has  so  many  friends  that 
she  has  received  one  shower  —  a  deluge 
of  showers,  I'd  say,"  remarked  Patsy. 
"We're  to  go  to  one  tonight  at  Mrs. 
George  Fitzmaurice's.  It's  to  be  a  general 
shower — everything,  Diana  says — you  know 
Mrs.  Fitzmaurice  was  Diana  Kane  before 
she  was  married — from  safety  pins  to  tiaras." 
Diana  announced  that  she  was  giving  Bebe 
her  nightgown  and  negligee,  and  if  only 
for  that,  if  nothing  else,  we  wouldn't  miss 
the  party  for  anything. 

But  Mrs.  Fitzmaurice  is  a  brilliant  hostess, 
and  lives  in  a  perfectly  gorgeous  house, 
away  on  top  of  a  hill  in  Beverly  Hills,  so 
there  was  every  reason  in  the  world  for 
going.  She  and  Bebe  have  been  friends 
for  many  years,  since  they  were  little  girls, 
in  fact. 

We  found  just  everybody  in  the  film 
world  there,  waiting  to  do  honor  to  Bebe. 
with  Bebe  herself  looking  radiantly  pretty 
in  white. 

Most  of  the  guests  were  in  the  huge 
drawing  room  of  the  house,  which  is  Eng' 
lish,  inside  and  out,  with  its  drawing  room 
giving  on  a  vista  of  wide  oak  stairway, 
red-carpeted,  and  a  great,  red-carpeted  re- 
ception hall. 

"And  I  think,"  whispered  Patsy,  "that 
Diana  is  just  as  happy  here  as  you  would 
naturally  expect  her  to  be!  For  she  has 
everything — a  devoted  husband,  a  lovely 
baby,  and  everything  from  a  material  stand- 
point that  her  heart  can  desire." 

Bebe  and  Diana  made  a  pretty  pair,  rush- 
ing about,  making  everybody  welcome,  and 
at  the  end  of  the  room,  as  we  turned  to 
greet  our  friends,  we  espied  a  white  bell 
suspended  from  the  ceiling  in  an  alcove, 
while  great  banks  of  flowers  were  on  all 
sides  of  the  alcove  walls. 

Naturally,  Bebe  showed  us  most  joyously 
her  wedding  gift  from  Ben — a  gorgeous 
diamond  necklace. 

We  caught  a  glimpse  of  Colleen  Moore, 
and  went  over  to  say  hello  to  her.  She 
recently  separated  from  her  husband,  John 
McCormick,  you  know;  but  she  was  look- 
ing very  pretty,  and  she  said  that  she  was 
having  a  perfectly  wonderful  time. 

Leatrice  Joy,  looking  very  lovely,  told 
us  that  .she  was  taking  lessons  in  'meta- 
physical singing' — -whatever  that  means.  At 
any  rate,  in  these  days  of  complexes  and  in- 


hibitions and  psychological  what-nots,  one 
isn't  surprised  to  hear  that  there  is  such 
a  thing  as  metaphysical  singing. 

Dolores  Del  Rio  was  there,  clad  in 
Venetian  green  and  wearing  orchids.  The 
dress,  we  learned,  was  from  Patou's  in 
Paris,  and  the  orchids,  we  suspected,  were 
from  Johnny  Farrow.  Miss  Del  Rio  buys 
all  her  dresses  from  Paris,  and  so  well  does 
Patou  understand  her  sartorial  (how  I  hate 
that  word,  but  it  is  the  right  one,  at  that) 
needs,  that  she  merely  orders  from  him, 
and  the  things  are  shipped  to  her  in  Cali- 
fornia. She  was  looking  exquisitely  pretty, 
and  very  tanned  from  the  beach. 

Elsie  Janis  was  lounging  picturesquely  on 
a  sofa,  though  you  usually  find  her  stand- 
ing for  some  reason  or  other.  She  said 
that  she  had  been  in  the  hospital  eleven 
days,  having  her  tonsils  out. 

"Why,  I  could  have  had  a  baby  in  that 
time!"  she  exclaimed  comically. 

Mildred  Lloyd  was  there,  dressed  in  pink, 
and  Mildred  can  wear  pink  now-a-days, 
she  has  become  so  slim;  and  there  were 
Julanne  Johnston,  Carmelita  Geraghty,  Mrs. 
Allan  Dwan,  Billie  Dove,  Pauline  Garon, 
Blanche  Sweet,  Lois  Wilson,  Mrs.  John 
Boles,  Julia  Faye,  Lilyan  Tashman,  Alma 
Tell,  Kathryn  Perry,  Mrs.  Abraham  Lehr, 
Mary  Ford,  Mrs.  William  K.  Howard,  Mrs. 
Griffin,  Bebe's  grandmother,  Marie  Mos- 
quini,  Mrs.  Skeet  Gallagher,  Mrs.  George 
Archainbaud,  Mary  Eaton  Webb,  Mrs. 
Barney  Glazer,  Mrs.  Henry  King,  Olive 
Tell,  Mrs.  Edward  Knopf,  Mrs.  Harry 
Tierney. 

And  later,  when  the  men  arrived,  these 
included  all  the  famous  husbands  of  the 
above,  among  them  Harold  Lloyd,  Jack 
Ford,  W.  K.  Howard,  Henry  King,  George 
Archainbaud,  Millard  Webb,  Henry  Hobart, 
Skeet  Gallagher,  John  Boles,  and  of  course 
the  husband  of  our  hostess,  George  Fitz- 
maurice, and  Ben  Lyon. 

Dolores  told  us  she  probably  would  go 
to  the  South  Seas  after  "The  Dove,"  which 
is  to  be  her  next  picture.  She  says  she 
has  always  wanted  to  see  Tahiti  and  way 
stations. 

Bebe  came  out  bedecked  with  orchids, 
and  we  found  that  they  had  adorned  the 
gift  box  which  Julia  Faye  had  brought  her. 
Bebe  said  she  was  much  too  thrifty  to 
allow  the  orchids  to  droop  on  a  box. 

Ben  Lyon's  mother  and  two  sweet  sisters 
from  the  South  were  among  the  guests, 
and  evidently  hugely  enjoyed  the  whole 
proceedings,  even  as  the  guests  enjoyed 
meeting  them. 

The  buffet  table  from  which  we  helped 
ourselves  to  delicious  food  was  charmingly 
and  amusingly  decorated  with  a  device  cal- 
culated to  express  'Daniel  in  a  Lyon's  den,' 
a  figure  of  Bebe,  in  bride's  outfit,  in  a 
candy  den,  while  a  lion  devoured  her! 
Our  ice  cream  was  made  in  the  shape  of 
lions,  too. 

After  dinner  we  all  dashed  into  the 
drawing  room,  and  Bebe  sat  down  in  the 
alcove  under  the  bell  to  open  her  gift 
boxes,  which  were  a  positive  mountain  by 
this-  time,  while  most  of  the  rest  of  us  sat 
about  on  the  floor  to  watch  her. 

Bebe's  mother,  Phyllis  Daniels,  and  Bebe's 
grandmother  sat  close  to  the  gifts,  and 
Bebe's  grandma  saved  all  the  pretty  ribbon, 
just  as  grandmas  have  done  from  time  im- 
memorial! 

(Continued  on  page  126) 


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The  next  issue  of 
SCREENLAND 
WU1  Be  On  Sale  Sept.  1 


SCREENLAND 
ON  LOCATION  WITH  ROBERT  MONTGOMERY 

Continued  jrom  page  89 


marvelous  performance,  but  it  was  not  un- 
til years  afterwards  that  Duse  was  acclaimed 
a  great  actress,  and  the  others  were  in 
their  thirties  and  early  forties  when  they 
did  their  best  work." 

"Then  I  still  have  a  chance  to  do  some- 
thing good  if  I  work  very  hard,"  she  said 
with  a  dreamy  look  in  her  brown  eyes. 
Dorothy  likes  character  work  much  better 
than  leads.  "They  suit  me  better;  and  be- 
sides, character  parts  have  more  individu- 
ality than  straight  leads." 

It  was  such  a  surprise  to  find  that  Doro- 
thy Jordan  is  a  Dixie  girl,  from  the  Blue 
Grass  Country.  If  her  soft  southern  drawl 
was  present  in  "Devil  May  Care"  it  eluded 
me.  Fll  have  to  see  it  again  now  to  find 
out  if  I  missed  anything.  Dorothy  lived 
at  the  Hollywood  Studio  Club  until  just 
a  few  weeks  ago  when  her  mother  and 
sister  came  out  to  Hollywood,  when  she 
took  a  house  so  they  could  all  be  together. 
Dorothy  is  another  youngster  who  has  come 
into  prominence  during  the  last  year  and 
a  half.  Some  one  saw  her  do  a  bit  and 
put  her  in  the  lead  in  a  Ramon  Novarro 
picture.  She  has  appeared  opposite  him 
ever  since,  and  now  she  and  Bob  Mont- 
gomery are  co-featured  in  "Like  Kelly 
Can."  But  she  doesn't  seem  to  think  she 
has  done  much.  She  is  a  modest,  lovable 
little  thing  and  even  though  she  has  ap- 
peared in  three  leads  she  doesn't  think  she 
knows  all  about  the  moving  picture  business. 

Allan  Lane,  the  handsome  young  man 
who  plays  Johnson,  one  of  the  golf  cham- 
pions, took  us  out  to  the  location,  which 
was  on  the  golf  course  that  morning,  in 
his  new  Chrysler.  He  drove  his  own  car 
from  Hollywood,  having  found  by  ex- 
perience that  it  is  a  very  comfortable  thing 
to  have  your  own  car  on  any  location, 
then  you  don't  have  to  depend  on  company 
cars. 

"Meet  the  Master  Mind,"  said  Bob 
Montgomery,  introducing  us  to  Chuck 
Reisner. 


"Doesn't  it  feel  lonesome  to  be  one  of 
those  things?"  we  kidded  him. 

Oh,  well,  you  see  I'm  getting  used  to  it 
now!"  he  laughed. 

The  first  day  on  location  Bob  Mont- 
gomery tried  everything  once:  the  surf 
board,  the  sulphur  baths,  both  swimming 
pools,  the  lake  and  the  running  track. 
"Yes,  and  I  never  saw  anyone  going  so 
many  different  places  in  so  many  different 
bath  robes  in  my  life,"  laughed  Harry 
Sheridan,  the  production  manager.  "It  was 
like  a  Sennett  comedy  to  see  Bob  emerging 
from  his  room,  darting  about  from  one  end 
of  the  hotel  to  the  other,  and  every  time 
he  had  on  something  different." 

Bobbie  grinned.  "Well,  I  didn't  want  to 
miss  anything!" 

A  half  dozen  grips  were  trying  to  spread 
an  enormous  piece  of  canvas  over  a  truck 
to  protect  the  contents  from  the  sun  which 
hadn't  come  out  yet,  though  everyone  had 
hopes.  "What's  that?"  someone  asked. 
"Oh,"  said  Bob,  "that's  Marie  Dressler's 
shawl!" 

The  sun  straggled  out  after  awhile  to 
encourage  everyone  to  try  for  a  scene,  and 
then  everything  became  very  busy.  Benny 
Rubin  groaned  as  he  swung  a  heavy  bag 
of  clubs  to  his  shoulder.  He  plays  caddy 
to  his  friend  Bob.  "I've  been  carrying  this 
for  days"  he  told  us,  "and  I'm  really  worn 
out.    We've  gone  miles  over  this  course." 

In  the  scene  played  that  morning  Benny 
was  supposed  to  have  been  all  fed  up  with 
helping  his  friend  train  for  the  champion- 
ship. The  dialogue  is  Benny  Rubin  special, 
coined  as  he  went  along.  He  never  said 
the  same  thing  twice,  just  being  careful  to 
stick  to  the  sense  of  the  scene.  When 
Bob  asks  for  a  'spoon'  Benny  blows  up. 
"Spoon,  is  it?"  he  yowls.  "First  I  am  a 
baggage  man  and  now  you  want  I  should 
be  a  vaiter!  I  von't  do  it!  I  am  going  to 
quit,  and  rest  my  bones.  You  spend  all 
my  money  and  now  you  spend  all  my 
(Continued  on  page  128) 


The  Ziegfeld  family — Flo,  daughter  Patricia,  and  wife  Billie  Burke. 
Mr.  Ziegfeld  is  going  to  bring  "Simple  Simon,"  his  latest  Broad- 
way success,  to  the  talking  screen. 


for    September  1930 


125 


STUNTING  TO  STARDOM 

Continued  from  page  66 

made  the  leap  at  just  the  right  moment 
and  landed  in  the  car.  But  this  time  the 
driver  was  too  slow  and  the  locomotive 
crashed  into  the  rear  of  the  automobile, 
again  ruining  the  scene.  Hoot's  injuries, 
this  time,  included  a  broken  ankle. 

The  final  attempt  was  successful.  He 
landed  in  the  tonneau  of  the  automobile 
and  the  car  cleared  the  tracks  just  in  time 
to  be  missed  by  the  engine.  Many  of  you 
boy  fans  who  are  now  grown  up  will  re- 
member that  picture.  But  maybe  you  don't 
know  about  the  hundred  dollar  bonus  Hoot 
was  to  receive.  Well,  he  doesn't  either, 
for  he  never  received  it.  He  was  brave 
enough  about  little  things  such  as  leaping 
in  front  of  trains  and  driving  motorcycles 
from  forty  foot  bridges,  but  he  was  not 
brave  enough  to  ask  for  his  extra  pay! 

Hoot's  first  job  before  the  camera  was 
to  do  falls  from  a  racing  horse.  For  each 
good  fall  he  received  fifty  cents! 

Hoot's  second  job  was  better.  In  the 
morning  he  was  an  Indian  in  full  war  paint. 
He  rode  a  bareback  horse  at  full  gallop 
all  morning.  In  the  afternoon  he  was  a 
cowboy  and  raced  another  horse  at  equally 
breakneck  speed  over  the  same  ground. 
The  sequences  were  so  arranged  that  the 
cowboy  chased  the  Indian  when  the  picture 
reached  the  screen.  For  this,  Gibson  was 
paid  two  dollars  per  diem. 

Of  course,  in  those  days  there  were  no 
studio  projection  rooms.  No  one,  not  even 
the  actors,  knew  whether  the  pictures  were 
good  or  bad  until  they  were  shown  in  the 
theaters,  when  actors  and  public  alike 
flocked  to  the  nearest  cinema  houses.  Much 
water  has  flowed  under  the  bridge  since 
then.  Today,  every  film  is  carefully  re- 
viewed and  edited  by  experts  before  it 
leaves  the  studio. 

In  his  early  career,  Hoot  endured  many 
hardships.  When  scenes  were  to  be  made 
on  location,  Hoot  would  travel  all  night 
on  horseback  with  five  or  six  men  and  a 
hundred  head  of  cattle  to  a  lonely  spot  in 
the  hills  or  on  a  prairie  to  be  ready  next 
morning  when  the  principals  and  director 
arrived  in  automobiles.  He  slept  on  the 
ground  with  a  blanket  rolled  about  him 
and  cooked  his  food  over  an  open  fire. 
His  pay  for  such  a  one-night  trek  was  one 
dollar  and  twenty-five  cents. 

Hoot's  progress  was  next  marked  by  a 
job  as  a  double  that  paid  him  twenty-five 
dollars  weekly.  Quite  a  princely  salary  in 
those  days,  particularly  for  one  who  had 
nothing  to  do  but  risk  his  life  and  limbs 
whenever  a  dangerous  stunt  was  needed! 

It  was  on  this  job  that  he  performed 
what  he  considers  his  most  dangerous  stunt. 
Not  on  a  horse,  but  riding  a4  motorcycle 
straight  off  a  drawbridge.  As  Hoot  raced 
for  the  bridge,  it  was  lifting  in  the  air. 
His  speed  was  to  have  caused  his  motor- 
cycle to  leap  into  the  air,  breach  the  open 
space  and  cause  him  to  land  on  the  far 
side  of  the  stream.  Twice  he  fell,  motor- 
cycle and  all,  into  the  water.  The  third 
time,  Hoot  leaped  off  the  end  of  the  bridge, 
forty  feet  in  the  air,  and  landed  with 
terrific  impact  on  the  other  side  of  the 
water.  A  momentary  wavering  and  he  rode 
away  with  a  flourish.  All  this  was  many 
years  ago  but  it  was  all  a  part  of  the 
making  of  one  of  our  most  popular  stars. 

Hoot  began  starring  in  pictures  about  ten 
years  ago,  but  even  then  he  was  a  man- 
of-all-work.  Not  only  did  he  do  his  own 
riding  and  acting,  he  often  doubled  for 
other  members  of  the  cast  who  were  not 


How  My  Wife  Learned  to  Play 
the  Piano  In  QO  Days 


A  husband's  story  of  the  fulfillment 
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at  home  on  horses.  He  wrote  his  own 
stories,  directed  them,  and  helped  cut,  edit 
and  title  them.  He  continues  to  do  this, 
and  he  now  heads  his  own  producing  com' 
pany  and  supervises  the  work  of  his  entire 
staff. 

With  the  advent  of  talking  pictures, 
nearly  every  Western  star  except  Hoot 
Gibson  was  thrown  out  of  work  because 
most  film  producers  thought  that  sound  pic 
tures  doomed  outdoor  productions  to  a  dis' 
mal  death.  But  Hoot  did  not  agree.  It 
was  his  theory  that  sound  would  bolster 
rather  than  lessen  the  popularity  of 
Westerns.  So,  while  other  stars  were  learn- 
ing  to  speak  and  to  sing  before  the  micro' 
phone,  Hoot  Gibson  was  perfecting  arrange' 
ments  to  go  fifty-fifty  in  the  financing  of 
a  series  of  natural  sound  Westerns.  The 
result  was  a  financial  success  and  the  cow- 
boy star's  popularity  has  soared  even 
higher. 

"The  popularity  of  Western  pictures  lies 
in  the  general  appeal  of  the  open  country," 
Hoot  explained  to  me  as  we  rode  back  to 
location  camp.  "The  natural,  God-given 
scenery  of  the  prairies,  the  mountains,  the 
sea  and  the  deserts  .strike  a  sympathetic 


note  in  nearly  every  heart. 

"Western  pictures  appeal  to  the  average 
person  because  it  is  the  very  nature  of 
man  to  like  motion  and  action.  The  pic- 
turesque background,  the  dash  and  daring 
of  an  expert  horseback  rider  have  a  uni- 
versal attraction,  and  only  in  stones  of  the 
west  can  riding  be  given  fullest  play.  There- 
fore, what  more  natural  than  that  the 
sounds  accompanying  the  actions  of  the 
west  should  serve  to  make  pictures  and 
stories  more  interesting?" 

Hoot  Gibson's  success  is  well  deserved. 
Today,  he  is  one  of  Hollywood's  wealthiest 
and  most  popular  citizens.  Off  screen  he  is 
quiet  and  well  mannered.  He  dresses  in 
the  best  of  taste.  His  mansion  in  Beverly 
Hills  is  one  of  that  community's  most  beau- 
tiful homes.  He  is  a  popular  addition  to 
any  dinner  party.  His  favorite  diversions 
are  tennis,  airplaning  and  bridge. 

Summing  it  all  up,  Hoot  Gibson  is  a 
real  son  of  the  west — sincere,  genuine,  fair- 
minded  and  honest.  To  Hoot,  a  spade  is 
a  spade  and  a  six-gun  a  six-gun.  He  be- 
lieves in  every  man  until  he  has  reason 
not  to.  Small  boys  have  selected  a  worthy 
idol  in  Hoot  Gibson! 


HIGH  SOCIETY  IN  HOLLYWOOD — Cont.  from  page  123 


Dolores  Del  Rio's  gift  to  Bebe  was  two 
lovely  silver  statues  of  deer. 

Diana  went  about  on  the  edge  of  the 
gifts,  pretending  to  be  picking  up  things 
and  hiding  them! 

Elsie  Jam's  showed  us  her  satin  what- 
you-may-call-ums.  They  were  embroidered 
with  red  roses,  and  Elsie  explained  that 
they  were  theatrical — she  said  that  she  had 
worn  them  on  the  stage  in  Paris,  and  had 
lured  all  France  with  them! 

Other  gifts  included  wonderful  lingerie, 
rare  perfumes,  table  linens  worth  fortunes, 
vases,  and  other  beautiful  things. 

There  was  a  fortune-teller  upstairs,  and 
we  found  Lilyan  Tashman,  Colleen  Moore 
and  some  of  the  other  guests  waiting  out- 
side the  door  to  come  in,  so  we  decided 
to  wait  below  stairs  and  say  hello  to  the 
the  men;  and  Colleen  dashed  down  later, 
saying  that  she  had  just  been  told  a  per- 
fectly swell  fortune,  but  she  wouldn't  tell 
us  what  it  was. 

Downstairs  we  met  Eddie  Lowe,  who  told 
us  about  the  marvelous  time  he  and  Lilyan 


had  had  during  their  recent  trip  to  New 
York.  He  said  they  even  did  Coney  Island, 
and  that  the  night  they  were  down  there 
they  caught  sight  of  a  weighing  machine, 
such  as  was  used  in  "The  Cock-Eyed 
World,"  and  that  the  man  running  it  spied 
him,  beckoned  to  him,  and  Eddie  went  up 
and  did  his  stuff  as  a  shill  for  the  machine, 
with  the  result  that  they  did  a  thriving 
business. 

George  Fitzmaurice  was  a  most  admirable 
host,  both  he  and  Diana  having  that  radiant 
something  which  makes  each  guest  feel  that 
he  or  she  is  the  favored  one.  Diana  looked 
too  lovely  and  slim  for  anything  in  a  belted 
white  gown. 

Ben  Lyon  came  up  and  put  his  arm 
around  Bebe  and  kissed  her,  and  looked 
as  proud  as  punch  about  the  gifts,  while 
somebody  told  him  that  there  were  three 
or  four  things  among  them,  like  cigarette 
sets,  that  he  himself  could  use.  We  wished 
both  of  them  happiness,  and  departed, 
awfully  late. 


STAGE  IN  REVIEW  —  Continued  from  page  91 


in  London. 

The  three  old  timers  are  Theresa  Conover, 
Helen  Raymond  and  Grace  Huff.  They 
roughed  their  parts  to  the  limit.  Robert 
Perry  and  Billy  Lynn  add  to  the  excitement. 
You  will  certainly  see  this  show  on  Will 
Hays'  Circuit. 

"The  Tavern" 

George  M.  Cohan,  the  perennial,  the 
popular,  the  oddly  gracile  Cohan,  staged 
a  return  to  Broadway  to  the  tumultuous 
clatter  of  ear-splitting  applause,  which  in- 
dicates that  George  is  clearly  destined  to 
be  the  Patti  of  the  comedy  stage:  there  will 
be  revivals  and  farewells  while  the  last 
Friar  and  Lambkin  can  still  beat  their 
palms. 

He  first  of  all  gave  us  that  superb 
comedy,  "The  Tavern,"  which  is  the  human 
comedy  itself  seen  from  the  higher  dimen- 
sion of  a  super-sane  man  known  as  the 
Artist- Aesthete-Spectator.  Produced  ten 
years  ago  with  Arnold  Daly  as  the  Vaga- 
bond, it  immediately  became  a  classic.  It 
will  still  be  seen  when  my  bald  head  shall 
be  ashes.  It  is  gorgeous  fantasy  stemming 
from  an  eternal  idea — that  only  the  Great 


Human  Comedy  is  seen  in  its  proper  per- 
spective by  the  intelligent  non-participator. 

After  seeing  Daly  as  the  Vagabond,  the 
sentimental  interpretation  of  the  Vagabond 
of  Mr.  Cohan  does  not  register  with  me. 
He  plays  it  down  to  the  box  office,  which, 
of  course,  is  the  Big  Cohan  Idea  after  all 
— n'est'ce  pas? 

"The  Song  and  Dance  Man" 

Cohan's  other  revival — which  is  to  be 
country-wide,  I  understand  —  was  "The 
Song  and  Dance  Man."  This  may  have 
pulled  in  the  shekels  way  back  in  the  pre- 
Lysistrata  days  of  1923,  but  today  it  looks 
like  a  terrible  piece  of  sentimental  ham- 
fatting;  and  no  one  but  Our  George  could 
get  away  with  it  on  Broadway. 

It  is  all  about  and  how  a  song-and-dance 
man  went  down  and  out  and  came  back — 
a  sobby,  ridiculous,  nauseating  piece  of 
plumduff  which  ought  to  be  looked  at  while 
nibbling  on  your  old  nursery  teething-ring. 

I  do  not  suppose  anybody  could  play 
the  central  character  more  convincingly  than 
Cohan — in  fact,  the  part  was  written  by 
him  for  him.  Like  Lincoln,  Hap  Farrell 
the  hoofer,  now  belongs  to  the  ages. 


for    September  1930 


127 


PRIMA  DONNA  —  Continued  from  page  83 


the  first  two  for  professional  use.  Her 
father  was  a  theater  electrician  who  had 
naturally  to  be  away  from  home  in  the 
evenings.  Her  mother's  health  has  long 
been  poor  so  all  through  her  grammar  and 
high-school  days  Bernice  stayed  with  her 
in  the  evenings  instead  of  running  about 
to  the  numerous  dances,  parties  and  club 
meetings  that  characterize  social  life  in 
high-school.  She  enjoyed  parties  as  much 
as  the  average  girl  but  since  she  couldn't 
well  participate  in  them  she,  in  time,  learned 
to  do  a  capital  job  of  entertaining  herself. 

As  a  child,  she  didn't  go  in  much  for 
dolls  because  to  do  so  made  her  lose  caste 
in  the  eyes  of  the  little  boys  who  were 
her  favorite  playmates.  She  rather  gloated 
in  being  just  a  bit  tomboyish. 

She  conducted  a  dancing  class  during 
her  last  two  years  of  high-school.  Her 
pupils  were  mostly  young  children.  She 
enjoyed  teaching  the  brighter  pupils  but 
instruction  of  the  less  nimble-footed  young- 
sters proved  to  be  the  direst  drudgery. 
She  says  what  with  her  own  dancing  and 
voice  lessons  and  her  high-school  work, 
she  probably  wasn't  noted  for  patience. 

Miss  Alice  Eggers,  supervisor  of  music 
in  the  Oakland  schools,  discovered  that 
Bernice  had  an  unusual  voice  and  took  her 
as  a  private  pupil.  When  Emil  Polak, 
accompanist  and  coach  for  Mme.  Maria 
Jeritza,  visited  in  San  Francisco  Bernice 
went  to  him  for  an  audition.  He  told  her 
that  there  was  then  a  shortage  of  person- 
able prima  donnas  in  New  York  and  ad- 
vised her  to  try  her  luck  there  as  soon  as 
she  had  finished  high-school. 

Bernice  Claire  arrived  in  New  York  with 
a  tremendous  ambition  and  several  hundred 
dollars  she  had  made  from  her  dancing 
class.  For  a  time  she  studied  with  Mr. 
Polak  before  she  was  given  a  contract  by 
Schwab  and  Mandel,  producers  of  musical 
comedy  and  operetta.  She  was  scheduled 
to  take  the  place  of  an  unsatisfactory  singer 
in  the  New  York  presentation  of  "The 
Desert  Song"  but  the  producers  did  not 
succeed  in  breaking  the  actress'  contract  so 
they  rented  Bernice  out  for  a  turn  in 
vaudeville  until  such  time  as  they  could 
use  her. 

She  was  shortly  after  recalled  from  her 
vaudeville  tour  and  placed   in  a  "Desert 


Song"  road  company  opening  in  Detroit 
and  subsequently  toured  from  Canada  to 
Texas.  The  season  over,  she  went  to 
Hollywood  for  the  summer  since  there  was 
little  activity  in  New  York.  She  was 
selected  for  the  prima  donna  role  in  "No, 
No,  Nanette,"  opposite  Alexander  Gray 
with  whom  she  had  played  in  "The  Desert 
Song"  and  was  given  a  First  National 
contract.  Since  that  time  she  has  played 
the  lead  in  six  pictures. 

Her  mother  has,  more  than  anyone  else, 
been  responsible  for  Bernice  Claire's  attain- 
ing of  her  present  position.  Mrs.  Jahnigan 
is  a  self-effacing  woman  who  has  devoted 
her  life  to  seeing  that  her  daughter  has 
an  opportunity  to  achieve  distinction  in  her 
chosen  field. 

There  is  nothing  of  the  managing  mama 
about  Mrs.  Jahnigan.  After  having  assured 
herself  that  Bernice  possessed  talent  she 
provided  dancing  and  voice  lessons,  firmly 
insisting  that  they  be  thoroughly  mastered. 
She  has  always  stayed  very  much  in  the 
background  because,  having  once  accom- 
plished her  purpose,  she  cherishes  no  desire 
to  bask  in  reflected  glory. 

Bernice  Claire  is  of  the  stuff  of  which 
prima  donnas  are  made.  In  spite  of  the 
fact  that  many  of  the  more  unpleasant 
characteristics  of  famous  divas  are  not  ap- 
parent in  her  make-up,  she  is  first,  last, 
and  always  a  singer.  She  sings  well  be- 
cause she  can  sing  no  other  way.  Her 
musical  background  is  wholly  negligible  but 
she  has  always  instinctively  had  a  taste  for 
the  best  things  in  music. 

She  would  like  an  operatic  career  and 
thinks  she  will  probably  have  one  in  due 
time.  Pictures  are  excellent  training,  and 
she  knows  of  nothing  else  she  would  rather 
do  while  she  is  waiting  for  her  voice  to 
fully  mature.  She  thinks  it  will  be  at  least 
five  years  before  she  reaches  her  vocal 
prime.  By  that  time  she  hopes  to  have 
saved  enough  money  to  be  independent. 

If  the  operatic  stage  is  still  extant  then 
she  intends  having  a  fling  at  it,  not  because 
she  considers  pictures  inferior,  but  simply 
to  satisfy  an  ambition  to  feel  a  flesh-and- 
blood  audience's  reaction  to  the  singing  of 
several  of  her  favorite  roles.  She  thinks 
the  talkies  are  improving  the  musical  tastes 
(Continued  on  page  129) 


Chorus  girls   and  boys  resting,  between  scenes   of  "Whoopee,"  in 
specially  built  rest  forms  to  save  their  tight  velvet  costumes  from 
being  spoiled. 


FRECKLES 


A  Simple,   Safe  Way  to  Get 
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There  is  no  longer  the  slightest  need  of 
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After  a  few  nights'  use  of  this  dainty 
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Be  sure  to  ask  at  any  drug  or  depart- 
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It's  always  sold  with  guarantee  of 
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Continued  from  page  124 


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strength.  I  am  not  going  to  move  any 
more,"  and  proceeded  to  flop  down  on 
the  grass  using  the  golf  bag  for  a  pillow 
while  Bob  entreated  him  to  be  a  sport. 
"Cut!  He'd  go  on  like  that  for  four  reels," 
yelled  Chuck,  who  was  laughing  at  Benny's 
inimitable  comedy. 

There  have  to  be  a  lot  of  tests  for  camera 
and  sound  between  each  scene  and  some 
one  has  to  stand  in  as  a  model.  "Who's 
resting?"  asked  Henry  Sharp,  one  of  the 
most  popular  camera  men  on  the  Metro  lot. 

"I'll  stand  in.  I  have  nothing  to  do," 
said  Chuck. 

"Only  direct  the  picture,  that's  all,"  said 
Henry.  "Still,  if  you  find  time  weighing 
heavily  upon  you,  just  park  yourself  under 
the  mike  for  a  minute  or  two." 

And  Chuck  did,  acting  like  a  clown  and 
airing  a  pretty  nifty  line  of  patter  himself. 

As  Chuck  Reisner  is  considered  one  of 
the  finest  directors  of  comedy  in  the  busi- 
ness I  wanted  his  opinion  on  what  quality 
was  essential  to  get  it  over. 

"Tragedy,"  he  replied  quickly.  "You 
have  to  have  the  two  strongest  opposing 
forces  clash.  The  positive  and  the  negative. 
Without  tragedy  there  would  be  no  comedy, 
no  contrast.  A  boy  falls  down  the  steps 
under  a  load  of  vegetables.  He  breaks  his 
leg.  The  crowd  laughs  because  he  looked 
so  funny  when  he  fell  and  because  they 
themselves  are  not  the  victims.  Sympathy 
for  his  distress  is  a  secondary  thought. 
Comedy  is  built  upon  the  misfortune  of  the 
other  fellow." 

Someone  hinted  that  it  was  about  time 
for  lunch.  "We'll  have  lunch  about  six!" 
declared  Chuck.  "I'm  staying  on  this  job 
if  it  kills  me — us  I  mean.  I  don't  want 
it  ever  to  be  said  that  I'm  not  trying!" 

Bob  was  wrestling  with  two  or  three 
of  the  bunch.  "Hey,  Bob,  cut  that  out," 
said  Chuck,  anxiously  watching  the  hero 
rolling  and  tumbling  on  the  grass.  "You're 
in  the  next  scene,  you  know." 

"Oh,  well,"  Bob  said  cheerfully,  coming 
up  for  air,  "I  could  do  with  a  broken  arm." 

"But  not  with  a  broken  nose,  my  lad. 
Think,  man,  think  of  your  public!" 

Again  the  sun  came  out  and  Bobby 
trudged  over  the  hill  to  begin  the  second 


scene.  Fifteen  times  that  morning  he  went 
back  and  forth  over  the  hill  and  so  did 
Benny — with  the  golf  clubs! 

In  one  scene,  a  close-up  of  Benny,  Bob 
had  to  stand  out  of  camera  range  and  call 
to  him.  After  the  first  take,  the  mixer 
called  to  Bob  to  stand  further  away  and- 
speak  louder. 

"There  you  go,"  said  Bob  jokingly, 
"making  me  strain  my  voice  again!" 

"Do  you  know  the  best  way  to  strain 
your  voice?"  said  Chuck.  "Stand  in  front 
of  a  screen  door  and  speak  through  it." 

After  lunch  we  went  to  another  part  of 
the  golf  course.  Every  afternoon  a  stiff 
breeze  seems  to  spring  up  and  we  were 
nearly  blown  off  the  hill.  For  some  reason 
or  other  a  motorcycle  cop  was  there  and 
the  girls  had  a  lot  of  fun  begging  rides 
from  him.  He  took  them,  too.  The  two 
Dorothys  had  to  work  but  not  in  the  first 
scene,  so  we  sat  on  the  grass  and  swapped 
stories.  We  all  told  what  we  liked  to  do 
when  we  were  kids.  Dorothy  Jordan  said 
she  and  her  sister  liked  to  take  walks 
through  the  woods  looking  for  flowers  and 
ferns  and  go  on  buggy  rides  where  five 
miles  was  a  long  drive.  Dorothy  McNulty 
liked  to  climb  trees. 

Benny  had  been  holding  down  a  place 
on  the  grass  for  an  hour.  "I'm  right  on 
my  spot,  see?"  he  held  up  a  little  wooden 
tee  which  he  had  put  in  the  ground  to 
mark  the  place  he  had  to  fall  upon.  And 
between  scenes  he  just  kept  sitting  there 
so  no  one  would  kick  it  away  accidentally. 

"Everything  all  right,  Sugar?"  asked 
Chuck. 

"Why,  Mr.  Reisner!"  exclaimed  a  young 
lady  coquettishly. 

"Aw,  he  means  Shugart,  the  sound 
mixer,"  she  was  told  disgustedly  by  her 
boy  friend.     "We  all  call  him  'Sugar.'  " 

We  watched  until  after  Benny  had 
started  off  the  old  dilapidated  Ford  which 
he  insisted  on  driving  around  the  golf 
course  to  save  his  bones.  He  gets  into  a 
lot  of  trouble  with  it,  too.  Runs  it  into 
a  tree  and  everything.  And  after  that  ex- 
citement we  departed,  convinced  that  "Like 
Kelly  Can"  will  be  one  of  the  funniest  films 
of  the  season. 


A  character  out  of  character — Edward  Robinson  portraying 
Edward  Robinson  at  home. 


for   September    19  30 


129 


PRIMA  DONNA 

Continued  from  page  127 

of  the  general  public  by  leaps  and  bounds 
and  that  it  will  be  only  a  short  time  before 
producers  will  be  casting  roles  to  satisfy 
the  most  vocally  ambitious. 

Bernice  Claire  has  the  complete  disre- 
gard for  clothes  that  characterizes  so  many 
artists.    She  professes  to  like  pretty  things 


Lucien  Littlefield  can  make  any 
part  in  a  picture  stand  out.  Proof 
— he  has   recently  completed  his 
100th.  film. 


but  she  treats  them  as  though  they  were 
merely  incidental.  Although  she  possesses 
as  pretty  a  pair  of  legs  as  ev.r  trod  before 
a  camera,  she  mostly  wec:s  long  '  :rts 
and  off'screen  dresses  always  in  a  manner 
which  makes  her  appear  older  than  she 
really  is. 

While  she  is  working,  it  is  the  business 
of  her  maid  to  see  that  her  clothes  are 
properly  arranged  for  the  camera.  Unlike 
most  actresses  who  must  inspect  themselves 
in  a  mirror  before  every  scene  is  taken,  she 
is  careless  about  such  things,  preferring  to 
spend  all  the  available  spare  time  in  learn- 
ing her  lines  or  rehearsing  new  songs. 

She  never  indulges  in  temperament  of 
the  fireworks  variety.  She  is  much  too  wise 
and  even-tempered  for  such  a  display.  She 
knows  that  producers  no  longer  tolerate  it. 
She  has  a  much  wiser  and  altogether  more 
effective  method.  If  she  wants  to  have  a 
scene  changed  or  to  do  some  bit  of  business 
differently,  she  starts  in  on  the  director  and 
frequently  reminds  him  about  it.  If  she 
doesn't  succeed  she  at  least  hasn't  made 
herself  absurd  by  refusing  to  do  something 
that  might  later  be  required  of  her. 

All  in  all,  she  is  extremely  pleasant  and 
conducts  herself  in  about  the  same  way 
any  normal  girl  of  her  twenty-one  years 
would  be  expected  to  act.  She  does,  how- 
ever, have  periods  of  obstinacy  of  which 
she  is  later  ashamed  and   apologizes  for. 

She  has  worked  for  six  directors  without 
a  single  major  disagreement.  The  unkind- 
est  criticism  any  of  the  six  has  to  make  of 
her  is  that  she,  at  times,  has  difficulty  in 
deciding  when  she  wants  to  sing. 

There  are  occasions  when  she  would 
rather  not  sing  in  the  morning  because 
it  is  too  early.  About  1 1  o'clock  she  de- 
cides she  would  do  better  if  she  waited 
until  she  had  had  her  lunch.  Two  o'clock 
is  too  soon  after  lunch  and  at  five  o'clock 
she's  too  tired.  If,  however,  she  is  pinned 
down  and  requested  to  sing  at  any  of  those 
hours,  she  sings  and  sings  well.    Her  delay 


is  prompted  only  by  the  desire  to  do  her 
very  best. 

She  cares  absolutely  nothing  for  the 
superficial  social  life  of  Hollywood.  She 
enjoys  an  occasional  game  of  bridge  and 
when  she  isn't  working  likes  to  have  dinner 
in  a  small  restaurant  where  well-prepared 
food  is  the  main  attraction.  After  dinner 
she  sees  a  movie.  On  very  rare  occasions 
she   likes   to    spend   an    evening  dancing. 

She  has  an  attractive  apartment  in  a 
Hollywood  court.  Her  only  objection  to 
the  place  is  that  it  isn't  soundproof  and 
the  gentleman  in  the  next  apartment  is 
much  given  to  showers  and  rather  doubt- 
ful vocalizing.  Her  Spanish  living  room 
contains  a  grand  piano,  a  radio,  a  victrola, 
and  a  really  fine  two-manuel  pipe  organ. 
She  owns  a  Ford  coupe  and  saves  money. 

Someday  she's  going  to  take  time  off 
and  have  a  swell  romance.  Thus  far  she's 
just  never  been  able  to  get  around  to  it. 
There  have  always  been  boy  friends  hover- 
ing in  the  background  but  none  that  she 
treats  very  seriously.  Hollywood  seems 
bent  on  marrying  her  off  to  Alexander 
Gray  but  they   are ,  merely  good  friends. 

Fear  is  a  quality  absolutely  unknown  to 
her.  She's  afraid  of  nothing.  She  went 
to  the  winter  quarters  of  a  circus  to  take 
publicity  pictures  and  amazed  veteran  ani- 
mal trainers  by  quite  unconcernedly  posing 
with  none-too-domesticated  leopards,  ele- 
phants, and  a  hippopotamus.  She  doesn't 
at  all  mind  snakes  and  mice. 

Her  tendency  to  minimize  her  accomplish- 
ments has  at  times  been  construed  as  lack 
of  color.  She  takes  everything  in  a  very 
matter-of-fact  way.  Her  career  requires 
hard  work.  She  can  see  nothing  glamour- 
ous about  hard  work. 

She  follows  no  particular  rules  for  keep- 
ing her  voice  in  shape.  She  eats  all  she 
wants  and  sleeps  all  she  wants.  She  drives 
a  hard  bargain  and  knows  how  to  save 
her  energy  so.  it  will  be  seen  to  best  advan- 
tage in  her  work.  She  will,  in  time,  doubt- 
less become  more  opinionated  and  better 
fit  the  public's  conception  of  a  great  singer, 
but  even  now  she  is  all  the  two  words 
imply —  prima  donna. 


Smiling  Nancy   Carroll — perhaps 
she  is  rehearsing  for  her  next  pic- 
ture, titled  "Laughter." 


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Wanted — 
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Book  review  from  "Time": 

Hollywood  Harlequinade 

Queer  People — Carroll  &  Garrett  Graham — 
Vanguard  ($2). 

Theodore  Anthony  White  is  a  picaresque  rascal, 
a  newspaperman.  He  lands  in  Los  Angeles  about  as 
broke  as  usual,  gets  a  job  on  a  morning  paper,  is 
taken  drunk,  loses  his  job,  wakes  up  next  morning 
entangled  in  Hollywood.  Successively,  never  too 
successfully,  he  is  scenario  writer,  press  agent,  black- 
mailer, entertainer  in  a  bawdy  house.  To  a  friend 
who  asks  him  if  he  likes  the  last  job  better  than 
being  in  a  studio,  Hero  White  replies:  "Well,  you 
work  with  a  better  class  of  people." 

As  press  agent  he  is  once  ordered  by  his  tempera- 
mental employer,  a  woman,  to  give  a  tea  for  the 
press.  With  misgivings  he  obeys.  After  the  tea  is 
over,  this  is  what  he  sees:  "A  beautiful  Chinese  urn 
had  been  smashed.  A  chair  had  been  hurled  through 
a  studio  window.  Someone  had  danced  on  the  pol- 
ished floor  with  hobnails.  There  were  nine  burns 
from  abandoned  cigarets  in  the  expensive  rug.  A 
drink  had  been  spilled  in  the  grand  piano.  Someone 
had  left  a  lighted  cigar  on  a  mahogany  side  table. 
An  entire  bottle  of  ginger  ale  had  been  prankishly 
poured  on  a  beautiful  chair  upholstered  in  brocaded 
silk.  An  arm  had  been  chipped  from  a  bit  of  statu- 
ary Mme.  Clore  had  brought  from  Italy.  A  mous- 
tache had  been  pencilled  on  the  lip  of  her  late 
husband's  oil  portrait.  Seven  glasses  were  broken. 
Three  spoons  were  missing.  The  second  maid  had 
been  seduced.    The  cook  had  quit. 

"The  press  had  been  entertained." 

IT'S  just   too  bad   that  tiddledy  winks  are  not  as 
popular  as  the  movies.    We  would  then  be  reading 
about  the  orgies  of  the  tiddledy  winks  colony,  the 
wild  life  of  the  tiddledy  winks  stars,  and  much  of 
"The  Truth  about  Dubuque" — assuming  that  Dubuque 
became  the  capital  of  Tiddledy  Winkdom  in  the  thorough 
manner  Hollywood  is  the  heart  of  Screenland. 

K  It  really  is  a  pity  the  public  cannot  work  up  a  lather 
about  tiddledy  winks.  A  lot  of  books  already  circulated 
about  Life  Among  the  Movie  Stars  could  be  re-edited 
without  any  trouble  and  passed  on  as  realistic  pictures  of 
the  Private  Lives  of  Tiddledy  Winks  Artists. 

K  In  the  meantime,  Hollywood  will  continue  to  be  the 
target.  So  long  as  the  motion  picture  is  bound  up  with 
the  enthusiasm  of  115,000,000  followers  a  week,  it  must 
pay  the  price. 

<K  Motion  picture  stars  long  ago  learned  that  their  conduct 
off  the  screen  was  public  and  not  private  property.  Due 
not  so  much  to  public  curiosity  as  to  a  psychological  reac' 
tion  to  the  parts  they  play  on  the  screen.  The  romantic 
illusion  must  be  preserved. 

CT  A  minister  cannot  let  his  flock  down  by  straying  from 


the  straight  and  narrow  himself.  In  the  eyes  of  his  con- 
gregation  he  automatically  ceases  to  be  a  man  of  the  cloth. 
So  with  a  picture  star,  except  that  it  is  the  romantic,  not 
the  religious  halo  that  is  taken  away. 

<f  "Keeping  faith  with  the  public"  is  a  familiar  phrase, 
but  the  stars  know  its  true  significance.  A  growing 
significance,  too.  The  talkies  raised  standards  all  around — 
"talent,  story  material,  direction,  cost — until  Hollywood's 
production  budget  for  the  coming  picture  year  is 
$190,000,000.  The  talkies  are  responsible  not  only  for 
bigger  audiences,  but  better  audiences. 

{(And  as  we  remarked  a  few  months  ago,  have  you 
noticed  that  Screenland  pays  its  readers  the  compliment 
of  taking  for  granted  that  they  are  intelligent  and  alert? 

C[  We  know  that  you  wish,  with  us,  that  tiddledy  winks 
would  grow  up  so  they  can  pick  on  some  other  stars,  just 
for  a  change. 

G[  And  if  not  tiddledy  winks,  have  you  any  suggestions? 

THE  PUBLISHERS 


Another  noted  playwright  signs  to  write  for  the 
screen.  Frederick  Lonsdale  has  adapted  his  play 
"Spring  Cleaning,"  which  will  be  called  "New 
Morals"  in  its  film  version.  He  has  also  written 
an  original  story  for  Ronald  Colman. 


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Swift  and  breathless,  those  final 
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©  1930,  R.  J.  Reynolds  Tobacco  Co.,  Winston-Salem,  N.  C. 


America's  Smart  Screen  Magazine 


CRimiAND 

II  ,  •  m>i— i 


RS 

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PPINESS? 


MIRACLES 
li  MAKE-UP 


WINNIE  LiGHTNER, 
champion  laugh  girl  of 
fhe  talkies,  adds  one 
more  triumph  to  her  list 
in  Warner  Bros,  latest 
all-Technicolor  comedy 
wow,  '  Hold  Everything." 


twice  the  IT 


A  wonder  screen — Technicolor.  Everything  is 
alive  with  color — natural  color!  The  blue  in  blue 
eyes.  The  ruddy  glow  in  youthful  cheeks.  Sky, 
sea,  greensward — an  orchid  frock — or  gingham! 
"Twice  the  'it'/'  you'll  say,  when  Technicolor 
brings  your  favorite  star  to  life.  Beauty,  charm, 
personality — nothing  escapes  the  subtle,  be- 
witching touch  of  Technicolor! 


V 


inTechnicolor 


SOME  OF  THE  TECHNICOLOR  PRODUCTIONS 

BRIDE  OF  THE  REGIMENT,  with  Vivienne  Segal  (First  National);  GOLDEN  DAWN,  with  Walter 
Woolf  and  Vivienne  Segal  (Warner  Bros.);  KING  OF  JAZZ,  starring  Paul  Whiteman  (Universal); 
THE  TOAST  OF  THE  LEGION,  with  Bernice  Claire  (First  National);  PARAMOUNT  ON  PARADE, 
all-star  cast  (Paramount),  Technicolor  Sequences;  SALLY,  starring  Marilyn  Miller  (First  National); 
SONG  OF  THE  FLAME,  with  Bernice  Claire  and  Alexander  Gray  (First  National);  THE  CUCKOOS, 
with  Bert  Wheeler,  Robert  Woolsey  and  Dorothy  Lee  (Radio),  Technicolor  Sequences;  THE 
MARCH  OF  TIME,  all-star  cast  (Metro- Goldwyn  -  Mayer ) ;  UNDER  A  TEXAS  MOON,  with 
Frank  Fay,  Noah  Beery,  Myrna  toy  and  Armida  (Warner  Bros.);  WOMAN  HUNGRY,  with 
Sidney  Blackmer  and  Lila  Lee  (First  National);  VIENNESE  NIGHTS,  all-star  cast  (Warner  Bros.). 


Lovely  LOR  ETTA  YOUNG 
tokeshercolor  bow  in  First 
National's  all -Techni- 
color outdoor  romance, 
"Heart  of  the  North," 


&P  -4  1930 


©C1B  852*8 


OCTOBER,  1930 


Delight  Evans,  Editor 


Vol.  XXI,  No.  6 


THIS  MONTH'S  PROGRAM 


Cover — Janet  Gaynor. 

Painted  by  Rolf  Armstrong 

Sound  News.  By  Evelyn  Ballarine    ....  6 

Letters  from  the  Audience   8 

Tabloid  Reviews   12 

Honor  Page  .    ^   14 

Another  Garbo   16 

Editorial.    By  Delight  Evans   17 

Miracles  of  Make-up.  By  Sydney  Valentine.  18 

Dare  the  Stars  Try  Again  for  Happiness? 

By  Rosa  Reilly   20 

Mary — Doug.     By  Herbert  Cruikshank   '.    .  22 

No  Age  Limit  In  Hollywood! 

By  Ruth  Tildesley   24 

Sing  As  You  Speak  !  says  Lawrence  Tibbett.  26 

The  Re-"Birth  of  a  Nation." 

By  Marie  House   28 

"Sally/'  "Sunny"  and  Marilyn. 

Marilyn  Miller.    By  Mitchell  Rawson  .    .  31 

Famous  Figures.    By  Virginia  Vincent    .    .  32 

Marriage  in  Hollywood.    Portraits    .    .  35-50 

A  Carol  to  Sue.    Sue  Carol. 

By  Constance  Carr  ■  .  51 

Fashion  News.  By  Maybelle  Manning    .    .  52 

Hollywood  Goes  Golf-Crazy. 

By  Helen  Ludlam   54 

How  About  The  Authors?  By  Gray  Strider.  56 

Why  I  Don't  Like  Hollywood. 

By  Benjamin  De  Casseres   58 

Why  I  Like  Hollywood.  By  Bio  De  Casseres.  59 

Alice  White's  Gift  Offering   60 

Long  Lance,  Chief  of  Heart-Breakers. 

By  Rosa  Reilly  .   62 


Health  and  Beauty.     Screenland's  Beauty 

Department.    By  Anne  Van  Alstyne    .    .  64 

Maureen  From  Dublin.  Maureen  O' Sullivan. 

By  Betty  Boone    . '   66 

The  Most  Beautiful  Still  of  the  Month.  67 

The  Molded  Mode   68 

Luana  Alcaniz — A  Portrait   70 

Louise  Huntington — A  Portrait   71 

Stars  of  Tomorrow? — Portraits  ....  72-75 

Marion  Davies — A  Portrait   76 

Estelle  Taylor — A  Portrait   77 

Mary  Lawlor — A  Portrait   78 

Dorothy  Jordan — A  Portrait   79 

Clara  Bow — A  Portrait    ........  80 

Robert  Montgomery — A  Portrait    ....  81 

Harold  Lloyd  and  Barbara  Kent 

—A  Portrait.    .    .    .  -                         .  82 

Miss  Midget.   Dorothy  Lee.  By  Richard  Ray.  83 

Reviews  of  the  Best  Pictures. 

By  Delight  Evans   84 

Critical  Comment  on  Current  Films    .    .  86 

On  Location  with  Richard  Arlen. 

By  Helen  Ludlam   88 

Just  An  Old  Spanish  Custom  in  Holly- 
wood. By  Grace  Kingsley   90 

The  Stage  in  Review. 

By  Benjamin  De  Casseres   92 

Come  Into  The  Kitchen  With  Anita  Page. 

By   Emily   Kirk   94 

Hot  From  Hollywood.  News  and  Gossip.    .  96 

Ask  Me.    By  Miss  Vee  Dee   102 

The  Vitagraph  Tank,  The  Old  Days,  and 

The  New.    By  the  Publishers  ....  130 


Published  monthly  by  Screenland  Magazine,  Inc.  Executive  and  Editorial  offices:  45  West  45th  Street,  New  York  City. 
Alfred  A.  Cohen.  President;  Delight  Evans.  Vice-President;  H.  C  Olpe.  Secretary.  Frank  J.  Carroll,  Art  Director; 
E.  Philip  Willcox,  Advertising  Director.  Chicago  office:  333  North  Michigan  Avenue,  Chicago,  William  H.  Capelle, 
Western  Manager.  Manuscripts  and  drawings  must  be  accompanied  by  return  postage.  They  will  receive  careful  atten- 
tion but  Screenland  assumes  no  responsibility  for  their  safety. 

Yearly  subscription  $2.50  in  the  United  States,  its  dependencies,  Cuba  and  Mexico;  $3.00  in  Canada;  foreign,  $3.50. 
Entered  as  second-class  matter  November  30.  1923.  at  the  Post  Office  at  New  York,  N.  Y.,  under  the  act  of  March  3, 
1879.    Additional  entry  at  Dunellen,  N.  J.    Copyright  1930.    Member  Audit  Bureau  or  Circulations. 


for    October    19  3  0 


5 


TODAY  THE  WORLD'S  GREATEST  ENTERTAINMENT 
IS  FOUND  ON  THE  TALKING  SCREEN! 


'The  Spoilers" 


At  popular  prices  for 
the  whole  family! 

The  biggest  value  your  money  buys 
today  is  entertainment  on  tbe  talk- 
ing, singing  screen!  You  see  and 
hear  sparkling  musical  hits,  great 
plays,  the  work  of  the  most  famous 
writers,  foremost  music  composers. 
Varied,  colorful,  stimulating  enter- 
tainment that  pleases  all  tastes  and 
every  member  of  the  family ! 

The  cost  is  so  low  you  shouldn't 
miss  a  single  opportunity  to  see  every 
Paramount  Picture  that  comes  your 
way.  Today,  as  for  18  years,  Para- 
mount is  the  greatest  name  in  enter- 
tainment. The  better  theatres  play 
Paramount  regularly  and  often  — 
use  the  name  always  as  your  guide 
to  "the  best  show  in  town ! " 


RICHARD  ARLEN 

in  "The  Law  Rides  West" 


With  Rosita  More- 
no, Eugene  Pallette, 
Mitzi  Green  and 
Junior  Durkin.  All 
action,  all  outdoors 
romance  starring 
Richard  Arlen. 

Adapted  from  the 
novel  "Spanish 
Acres"  by  Hal 
Evarts.  Directed  by 
Otto  Brower  and 
Edwin  Knopf. 


an 


D 

"FOLLOW 

THRU" 

CHARLES  ROGERS 
NANCY  CARROLL 

Zelma  O'Neal  and  Jack  Haley.  Paramount's 
all  talking,  all  musical,  all  Technicolor  adap- 
tation of  the  sensational  musical  comedy  suc- 
cess that  ran  54  weeks  on  Broadway.  Charles 
Rogers  and  Nancy  Carroll  in  a  bright,  spar 
kling  story  of  youth  and  love  and  golf  with 
catchy  tunes  and  laughs  galore.  On  the  screen, 
"Follow  Thru"  has  the  same  zip  and  pep,  the 
same  youthful  exuberance  that  made  the 
stage  production  such  a  hit.  By  De  Sylva, 
Brown,  Henderson  and  Laurence  Schwab.  Di- 
rected by  Laurence  Schwab  and  Lloyd  Corrigan. 

A  SCHWAB  &  MANDEL 
PRODUCTION 


Edwin  Carewe  Production 
with 

Gary  Cooper 

REX  BEACH 

Also  in  the  cast  are  Kay  Johnson,  Betty 
Compson,  William  Boyd  and  Harry  Green. 
Rex  Beach's  dynamic  drama  of  the  Alaska 
gold  rush  on  the  talking  screen  in  all  its 
strength  and  splendor!  A  story  of  love,  hate 
and  conflict  that  you  will  never  forget! 


TUNE  IN! 

Hear  great  entertainment  and  the  latest 
news  of  Paramount  Pictures  on  the  air  in 
the  Paramount  Publix  Radio  Hour,  each 
Tuesday  night,  10.15-11.00  P.  M.,  Eastern 
Daylight  Saving  Time  over  the  nation- 
wide Columbia  Broadcasting  System. 


PARAMOUNT  PUBLIX  CORPORATION,  ADOLPH  ZUKOR,  PRES. 


PARAMOUNT  BUILDING,  NEW  YORK. 


6 


SCREENLAND 


GROW— 

Yes,  Grow  Eyelashes 
and  Eyebrows  like  this 
in  30  days 

'T'HE  most  marvelous  discovery  has  been  made — a 
way  to  make  eyelashes  and  eyebrows  actually 
grow.  Now  if  you  want  long,  curling,  silken  lashes, 
you  can  havelhem — and  beautiful,  wonderful  eye- 
brows. 

I  say  to  you  in  plain  English  that  no  matter  how 
scant  the  eyelashes  and  eyebrows,  I  will  increase 
their  length  and  thickness  in  30  days — or  not  accept 
a  single  penny.  No  "ifs,"  "ands,"  or  "maybes."  It 
is  new  growth,  startling  results,  or  no  pay.  And  you 
are  the  sole  judge. 

Proved  Beyond  the  Shadow  of  a  Doubt 

Over  ten  thousand  women  have  tried  my  amazing 
discovery,  proved  that  eyes  can  now  be  fringed  with 
long,  curling  natural  lashes,  and  the  eyebrows  made 
intense,  strong  silken  lines!  Read  what  a  few  of 
them  say.  I  have  made  oath  before  a  notary  public 
that  these  letters  are  voluntary  and  genuine.  From 
Mile.  Hefflefinger,  240  W.  "B"  St.,  Carlisle,  Pa.: 
"I  certainly  am  delighted  ...  I  notice  the  greatest 
difference  .  . .  people  I  come  in  contact  with  remark 
how  long  and  silky  my  eyelashes  appear."  From 
Naomi  Otstot,  5437  Westminster  Ave.,  W.  Phila., 
Pa.:  "I  am  greatly  pleased.  My  eyebrows  and 
lashes  are  beautiful  now."  From  Frances  Raviart, 
R.  D.  No.  2,  Box  179,  Jeanette,  Penn.:  "Your  eye- 
lash and  eyebrow  beautifier  is  simply  marvelous." 
From  Pearl  Provo,  2954  Taylor  St.,  N.  E.,  Minne- 
apolis, Minn.:  "I  have  been  using  your  eyebrow  and 
eyelash  Method.  It  is  surely  wonderful."  From 
Miss  Flora  J.  Corriveau,  8  Pinette  Ave.,  Biddeford, 
Me.:  "I  am  more  than  pleased  with  your  Method. 
My  eyelashes  are  growing  long  and  luxurious." 

Results  Noticeable  in  a  Week 

In  one  week — sometimes  in  a  day  or  two — you 
notice  the  effect.  The  eyelashes  become  more  beau- 
tiful— like  a  silken  fringe.  The  darling  little  upward 
curl  shows  itself.  The  eyebrows  become  sleek  and 
tractable — with  a  noticeable  appearance  of  growth 
and  thickness.  You  will  have  the  thrill  of  a  life- 
time— know  that  you  can  have  eyelashes  and  eye- 
brows as  beautiful  as  any  you  ever  saw. 

Remember  ...  in  30  days  I  guarantee  results  that 
will  not  only  delight,  but  amaze.  If  you  are  not 
absolutely  and  entirely  satisfied,  your  money  will 
be  returned  promptly.  I  mean  just  that — no  quibble, 
no  strings.  Introductory  price  $1.95.  Later  the 
price  will  be  regularly  $5.00. 


55-00  /J 


Grower  will  be  sent  C.  O.  D.  or  you  can  send 
money  with  order.  If  money  accompanies  order 
postage  will  be  prepaid. 


■    LUCILLE  YOUNG, 

<54-A  Lucille  Young  Building,  Chicago,  III. 
Send  me  your  new  discovery  for  growing  eye- 
lashes and  eyebrows.    If  not  absolutely  and 
entirely  satisfied,  I  will  return  it  within  30  days 
and  you  will  return  my  money  without  question. 

Price  C.  O.  D.  is  $1.95  plus  few  cents  postage. 
If  money  sent  with  order  price  is  SI. 95  and  post- 
age is  prepaid. 

State  whether  money  enclosed  or  you  want 
order  C.  O.  D  


Name  . 

St.  Address_ 


City. 


ground  JA(kws 


By 

Evelyn 
Ballarine 


About  pictures — and  you'll  be  seeing  them! 


THEY'RE  collegiate— rah,  rah,  rah! 
College  boys  make  good  in  the 
movies !  It's  surprising  how  many 
of  our  screen  boy-friends  were 
scheduled  for  careers  other  than  the  screen. 

Edmund  Lowe,  graduate  of  Santa  Clara 
University,  might  be  practicing  law  now 
instead  of  antagonizing  the  law  as  he  does 
in  his  screen  portrayals. 

Richard  Barthelmess  is  a  graduate  of 
Trinity  College.  But  Dick  was  always  an 
active  member  of  the  school's  dramatic  club. 

Buddy  Rogers  is  the  University  of  Kan- 
sas' gift  to  the  screen.  And  what  a  gift ! 
Buddy  was  chief  trombone  player  and  jazz 
band  leader  at  the  University  and  now  he's 
still  tooting  his  horn  for  the  talkies. 

Rudy  Vallee  was  Yale's  favorite  band 
leader.  Now  he's  the  Pied  Piper  of 
America.  At  any  rate,  his  music  seems 
to  fascinate  the  feminine  populace. 

Louis  Wolheim  was  a  college  professor 
before  the  stage  lured  him  from  the  school- 
room. Now  he  is  one  of  the  best  hard- 
boiled  character  actors  of  the  cinema. 

Richard  Dix,  Gary  Cooper,  Robert  Arm- 
strong, Richard  Arlen,  Conrad  Nagel, 
Fredric  March,  Johnny  Mack  Brown  and 
Charles  Farrell  were  scheduled  for  busi- 
ness careers  had  not  Fate  stepped  in. 
Thanks,  Fate! 

Our  search  for  Emil  Jannings  has  not 
been  futile.  He's  expected  in  Hollywood 
about  January  1st.  Warner  Brothers^  have 
a  story  in  readiness  for  him  and  the  title  is 
"Idol."  A  more  appropriate  title  would  be 
"The  Return  of  the  Idol." 

"Check  and  Double  Check,"  the  Amos 
'n'  Andy  film,  is  now  in  production.  Sue 
Carol  will  play  the  dusky  Ruby  Taylor, 
Rita  La  Roy,  the  gold-digging  Madame 
Queen,  and  Alex  Robb  has  been  signed  for 
the  King  fish  role.  No  longer  will  our 
imagination  have  to  work  overtime  to  visu- 
alize "The  Fresh  Air  Taxi  Corpulation  of 
America,  Incorpulated" — now  we'll  be  able 
to  see  and  hear  it. 

Lionel  Barrymore  heads  the  list  of 
actors  who  have  become  directors.  Ramon 
Novarro  is  the  latest  to  succumb.  _  He  is 
to  direct  as  well  as  act  in  the  Spanish  ver- 
sion of  "Singer  of  Seville."  Lowell  Sher- 
man has  been  handed  a  new  contract  with 
RKO  in  which  he  is  slated  to  act  as  well  as 
direct — and  he  does  both  very  well,  thank 
you.  Raoul  Walsh  and  Donald  Crisp  are 
two  directors  who  double  in  brass.  They 
are  both  good  actors  and  directors.  John 
Gi)bert  has  always  had  a  yen  for  directing, 


too.  It  wouldn't  be  at  all  surprising  if  he 
did  a  little  two-timing  in  that  direction. 

Mrs.  John  Gilbert  (Ina  Claire)  is  mak- 
ing the  most  interesting  comeback  in  pic- 
tures. About  a  year  ago  Miss  Claire  was 
signed  by  Pathe  with  a  great  deal  of  pomp 
and  all  the  trimmings.  She  made  two 
pictures  for  that  company  and  apparently 
they  or  she  didn't  click  and  everyone 
thought  she  was  through  with  pictures. 
Recently  Ina  accepted  a  stage  engagement 
in  Los  Angeles  and  went  over  with  a 
bang.  Now  Paramount  have  signed  her 
for  one  of  the  principal  roles  in  "The 
Royal  Family,"  and,  also,  for  the  role  she 
is  now  playing  on  the  stage  in  "Rebound." 
Of  course,  we  all  know  that  John  Gilbert 
is  staging  a  come-back,  too,  in  "Way  for 
a  Sailor."  It  looks  as  though  Ina  and 
John  Gilbert  will  probably  be  heralded  as 
the  latest  talkie  sensations — and  it's  all 
right  with'  us ! 

With  "The  Big  House"  and  "Numbered 
Men,"  the  jail-break  films,  proving  so  suc- 
cessful, Warner  Brothers  are  producing  a 
story  from  the  woman's  angle.  "Bad 
Women"  deals  with  prison  life  for  women, 
with  Vera  Gordon,  Claudia  Dell,  Martha 
Mattox  and  Alay  Boley  in  the  cast. 

Everyone  says  that  there's  only  one 
Garbo  in  pictures — we  agree  that  there's 
only  one  Greta  Garbo  but  the  Swedish 
cyclone's  brother  Sven  has  been  signed 
by  Paramount  for  talkies.  Sven  Garbo  is 
tall  and  handsome  and  is  reported  to  be  a 
good  bet  for  pictures. 

Marlene  Dietrich,  Paramount's  importa- 
tion who  is  called  the  German  Garbo,  has 
a  splendid  cast  and  director  for  "Morocco," 
her  talker  debut.  Gary  Cooper  and 
Adolphe  Menjou  are  the  masculine  in- 
terest— and  what  could  be  more  interest- 
ing? Josef  Von  Sternberg  will  direct  the 
vehicle.  This  will  be  Menjou's  first 
American-made  movie  in  over  a  year. 

Here  are  a  few  titles  to  digest  before 
the  pictures  are  served  to  you :  "The 
Boudoir  Diplomat,"  which  is  the  screen 
adaptation  of  "The  Command  to  Love," 
the  Broadway  stage  success.  Mary  Duncan, 
Jeanette  Loff  and  Dorothy  Burgess  are  in 
the  cast. 

"The  Lady  Surrenders,"  adapted  from 
"Sincerity,"  the  novel  by  John  Erskine,  has 
Conrad  Nagel,  Carmel  Myers.  Genevieve 
Tobin,  Franklin  Pangborn,  Vivian  Oak- 
land and  Rose  Hobart  in  the  line-up.  Rose 
is  one  of  the  latest  stage  recruits  signed 
for  the  screen. 


for  October 


19  3  0 


7 


America's  Greatest  Actor 
—As  You  Like  Him! 


WARNER  BROS, 
present 


lOS.  m 

c/onn 

BARRYMORE 


in 

With  JOAN  BENNETT 
Lloyd  Hughes,  and  a  Great  Cast 


FOR  seven  years  on  the  seven 
seas  he  had  sought  the  in- 
human monster  that  had  made 
him  a  man  unfit  to  love. 

Can  he  win  revenge  against  this 
awful  enemy — or  will  he  perish 
in  the  giant  maw  that  has  been 
the  graveyard  of  a  hundred  men 
before  him? 

Will  he  ever  return  to  his  home 
to  learn  that  the  love  he  thought 
dead  is  still  waiting? 

These  are  the  questions  that  have  held 
hundreds  of  thousands  spellbound 
through  the  pages  of  Herman  Melville's 
immortal  classic,  "MOBY  DICK". 

They  are  merely  hints  of  the  throbbing 
thrills  thatmake"MobyDick"John  Barry- 
more's  most  glorious  talking  picture!  See 
it  soon,  at  leading  theatres  everywhere. 


Adapted  by  J.  Grubb  Alexander. 
Directed  by  Lloyd  Bacon.  "Vila- 
phone"  is  the  registered  trademark 
of    The    Vitaphone  Corporation. 


A  WARNER  BROS.*  VITAPHONE  PICTURE 


s 


SCREENLAND 


Letters 


This  is  YOUR  department,  to  which 
you  are  invited  to  contribute  your  opin- 
ions of  pictures  and  players.  For  the 
cleverest  and  most  constructive  letters, 
not  exceeding  200  words  in  length,  we 
offer  four  prizes.  First  prize,  #20.00; 
second  prize,  $15.00;  third  prize,  $10.00; 
fourth  prize,  #5.00.  Next  best  letters 
will  also  be  printed.  Contest  closes 
October  10,  1930.  Letters  in  praise  of 
Screenland  are  not  eligible  in  this  con- 
test and  should  be  addressed  directly 
to  the  Editor.  Send  "best"  letters  to 
Letters  from  the  Audience  Department, 
Screenland  Magazine,  45  West  45th 

Street,  New  York  City.  _, 

The  Editor 


from  the 

Audience 


FIRST   PRIZE  LETTER 
$20.00 

It  is  said  that  when  George  Sand  was  in 
low  spirits  she  took  to  reading  Dumas. 
The  matchless  gusto  of  the  D'Artagnan 
romances  never  failed  to  restore  her  self- 
confidence. 

I  confess  that  a  certain  kind  of  picture 
does  for  me  what  Dumas  did  for  the 
French  authoress.  It  is  the  action  play, 
shorn  of  unnecessary  sentiment,  best  typi- 
fied at  this  time  by  "Born  Reckless." 

Edmund  Lowe,  I  admit,  is  hard-boiled. 
You  don't  approve  of  all  he  does.  But 
you  can't  help  liking  his  daring  abandon, 
his  bold  assurance  that  fate  simply  cannot 
put  under. 

There  is  a  world  of  difference  between 
melodrama  and  Simon-pure  adventure. 
The  former  too  readily  cloys.  The  latter 
sweeps  through  you  like  a  fresh  wind. 

I  am  not  a  devoted  screen  _  fan.  My 
taste  in  books  runs  to  the  philosophical. 
But  permit  me  to  say  that  when  any  of 
the  movie  crowd  hit  close  to  the  real, 
traditional  spirit  of  adventure  I  appreciate 
it.  Doug  Fairbanks  used  to  lead  the  field 
at  this  sort  of  thing.  Now,  it's  Edmund 
Lowe. 

A.  M.  Miller, 
Mcllhenny  Road, 
Redlands,  Cal. 

SECOND   PRIZE  LETTER 
$15.00 

Recently,  I  saw  a  demonstration  of  loyal- 
ty and  affection  from  the  picture  fans  that 
I  wish  some  of  the  old-time  film  favorites 
might  have  seen  and  heard. 

A  certain  theater  showed  a  short  Vita- 
phone  subject  called  "Evolution,"  a  short 
story  of  the  evolution  of  motion  pictures. 
It  lasted  ten  minutes  but  I  could  have  sat 
through  hours  of  it.  I  have  not  enjoyed 
anything  so  much  for  years. 

It  began  with  the  old-time  melodramas 
and  slapstick  comedies  and  on  up  to  the 
present-day  super-productions.  Dear  old 
John  Bunny !  How  I  wish  he  might  have 
heard  the  ovation  given  him.  Then  came 
Wallace  Reid,  Earle  Williams,  countless 
others.  How  wonderful  are  motion  pic- 
tures. To  think  that  we  may  preserve 
films  that  show  the  World  War,  incidents 
of  world-wide  interest,  great  persons,  great 
statesmen.  That  for  generations  people 
will  be  able  to  hear  these  persons  talk. 
Imagine  if  they  had  had  talking  pictures 
in  the  days  of  Pompeii,  of  Napoleon,  of 
the  great  wars ! 

I  believe  in  motion  pictures  and  their 


greatness.  And  I  wish  we  might  see 
more  of  the  old  films  that  we  might  bet- 
ter appreciate  the  great  stride  this  indus- 
try has  made  in  the  last  few  years. 

H.  L.  Reinbold, 
6257  Lankershim  Blvd., 
North  Hollywood,  Cal. 

THIRD   PRIZE  LETTER 
$10.00 

It's  queer  how  one's  tastes  run  to  ex- 
tremes. To  me,  the  two  most  fascinating 
men  on  the  screen  are  the  two  most  dif- 
ferent. 

One  is  a  gay,  sparkling  sort  of  fellow, 
laughing,  singing,  with  a  radiance  of  tem- 
perament that  is  almost  Latin,  a  quickness 
of  sympathy  and  warmth  of  feeling,  a 
happy-go-lucky  brightness  of  outlook. 

The  other  is  silent  and  dour,  self-con- 
tained, strong  and  stolid  like  the  Saxon, 
hiding  his  emotions  or  repressing  them, 
slow  to  anger  but  dangerous  when  aroused. 

They  hail  from  different  continents. 
One  from  the  congested  quarter  of  a 
crowded  city  in  Europe ;  the  other  from,  the 
plains  of  western  America.  You  can  see 
it  in  the  eyes  of  both  of  them — the  music, 


Maurice  Chevalier  has  trans- 
ferred his  title,  'The  Idol  of 
Prance'  to  America.  In  his  new 
picture,  "The  Playboy  of  Paris," 
he  will  be  seen  as  a  singing 
waiter. 


light  and  gaiety  of  the  city;  the  silence 
and  distances  of  mountain  and  sky. 

One  is  debonair  and  nonchalant — can 
wear  a  straw  hat  with  striking  results. 
The  other  is  at  his  best  in  the  rough  pic- 
turesque attire  of  a  man  of  the  plains. 
Different!  But  thousands  love  both  of 
them. 

"Vive  le  Chevalier  de  France!" 
"Three  cheers  for  Gary "  Cooper !" 

Gwennie  James, 
330  N.  Mason  Avenue, 

Chicago,  111. 

FOURTH    PRIZE  LETTER 
$5.00 

For  broadening  its  sympathies,  deepen- 
ing its  understanding  of  all  people  regard- 
less of  nationality,  religion,  social  station 
or  outward  mannerisms,  humanity  owes 
the  motion  picture  a  great  debt  of  grat- 
itude. 

In  spite  of  ourselves  we  are  suspicious 
and  afraid  of  the  unfamiliar.  We  mis- 
trust foreigners.  People  of  certain  occu- 
pations are  wicked,  banned.  The  movies 
introduce  them ;  they  tell  their  own  stories. 
We  get  into  the  depths  of  their  hearts  and 
souls.  We  know  them;  they  are  our 
friends  because  we  have  shared  the  vital 
moments  of  their  lives  with  them.  We 
understand,  sympathize,  and  forgive. 

Pictures  have  come  nearer  to  accom- 
plishing what  the  preachers  have  been  try- 
ing to  do  for  generations  than  anything 
else  has  done.  That  accomplishment  is  the 
brotherhood  of  mankind,  universal  sym- 
pathy, obedience  to  the  admonition,  "Judge 
not." 

After  seeing  "Numbered  Men"  who  could 
remark,  "An  ex-prisoner  ?  We  '  cannot 
tolerate  him!"  And  "All  Quiet  on  the 
Western  Front"  has  come  nearer  to  con- 
vincing the  people  of  the  necessity  for 
world  peace  than  all  the  lectures  and  pacts 
and  legal  documents  ever  would.  Let's 
not  accept  these  blessings  passively,  but 
give  thanks  for  a  great  deliverer. 

Margaret  Ann  McGuire, 
301  Joost  Avenue, 
San  Francisco,  Cal. 

Come  On,  Let's  See  a  Picture 

What  endless  vistas  of  enchantment  the 
simple  *word  movie  invokes.  No  matter 
how  dull  and  drab  our  daily  existence  or 
how  wearisome,  we  can  escape  from  bore- 
dom and  forget  fatigue  in  marvelous 
realms  of  romance,  conquest,  adventure  or 
laughter.     Young  or  old,  your  favorite 


for    October  1930 


9 


Ridin'in  on  affinity  furore 
and  a  roarin'riot  come; 


A  FIRST  NATIONAL  & 
VITAPHONE  PICTURE 


-  -  - 


rI  make  ze  love  to  you  myself — personal 
What?  Because  you  sm* 
wish  to  spib  '  " 
Pancho  1 
dam  que 

Listen  to 
broken  a 
L'iloldC, 
Hood  oft 
ever  bro 


H 


Assisted  fc 

DIRECT! 
Porter  Em 

"Vitaphone"  ii.  t 


10 


SCREENLAND 


emotion  awaits  you — just  'round  the  corner. 

And,  apart  from  entertainment,  we  can 
keep  ourselves  up-to-date  with  the  news 
films.  Why  be  an  'old-timer'  when  you 
can  so  easily  be  informed  as  to  what  is 
going  on  in  this  busy  world  of  ours,  at 
home  or  abroad? 

And  now,  the  talkies !  Just  as  we 
thought  the  last  limit  of  achievement  had 
been  reached,  these  silent  folk  began  to 
talk  and  sing  and  do  it  so  realistically  that 
it  seems  they  must  be  moving  before  you 
in  truth  instead  of  on  the  silver  screen. 

Let's  keep  young,  happy,  modern,  as  the 
pictured  world  of  reality  and  imagination 
are  brought  to  our  feet.  Come  on,  let's  go 
to  the  movies  tonight ! 

Mrs.  Harrietta  R.  Albright, 

24  Hudson  Street, 
Somerville,  Mass. 


Mr.  Arliss,  Actor  and  Critic 

There  are  many  players  who  deserve 
favorable  mention  for  their  artistic  por- 
trayals on  the  sound  screen.  George  Arliss, 
polished  gentleman  of  both  stage  and 
screen  is  notable  in  that  he  is  not  only  an 
actor  but  a  fine  dramatic  critic. 

In  an  interview  he  offered  an  instructive 
disclosure  of  some  of  the  deficiencies  in  the 
making  of  sound  pictures  with  the  state- 
ment that  these  will  soon  be  overcome  by 
the  producers.  Mr.  Arliss  is  one  of  the 
outstanding  characters  of  modern  stage 
type  who  believes  that  talkies  have  come 
to  stay,  not  usurping  the  place  of  the  legiti- 
mate stage,  but  helping  and  encouraging 
its  betterment. 

His  support  of  the  talking  pictures  and 
his  success  in  them  is  made  clear  in  his 
interview.  There  are  many  others,  such 
as  Gloria  Swanson  and  Ruth  Chatterton 
who  are  giving  proof  of  the  growing  and 
favorable  impression  of  talking  pictures. 

N.  C.  Bledsoe, 
R.  D.  2,  Box  28, 
San  Bernardino,  Cal. 


Movies  for  Shut-ins 

'  often 


That  is  movie-night ! 

All  day  we  are  filled  with  happy  antici- 
pation and  at  night  we  get  dressed  and  go 
to  the  dining  room,  where  for  a  few  en- 
chanted hours  all  disappointments  and  dis- 
couragements are  forgotten  as  the  glamour- 
ous figures  move  across  the  temporary 
screen. 

When  the  blissful  hours  are  over,  we 
go  back  to  our  cottages  and  beds  once 
more,  but  the  stirring  scenes  we  have  wit- 
nessed, are  lived  over  and  over  again. 

The  pictures  we  see  are  necessarily  si- 
lent. Many  of  us  have  never  heard  the 
miracle  of  the  talkies  but  we  are  all  look- 
ing forward  to  the  time  when  we  will  be 
well  and  can  hear,  as  well  as  see,  our 
favorite  motion  picture  stars. 

Katherine  E.  Albert, 
Olive  View  Sanatorium, 
Olive  View,  Cal. 


Screen  Inspires  Success 

It  pleases  me  greatly  to  note  the  fact 
that  the  old  ideas  concerning  the  destruc- 
tive moral  influence  on  the  plastic  minds 
of  growing  children  are  gradually  becom- 
ing obsolete.  The  only  influence  exerted 
upon  me  by  motion  pictures  as  I  look  back 
upon  my  childhood  was  beneficial. 

My  early  youth  was  spent  in  one  of  the 
remote  countries  of  the  world,  away  from 
any  adequate  opportunity  for  social  edu- 
cation and  where  grim  realities  governed 
every  attempt  at  educational  advancement. 
My  parents  lived  in  constant  worry  of  my 
future. 

When  I  came  to  America,  one  of  the 
institutions  which  first  attracted  my  child 
mind  was  the  motion  picture  theater.  I 
saw  all  types  and  varieties  of  pictures  and 
gradually  my  mind  expanded  and  embraced 
a  broader  outlook  on  life.  I  witnessed  the 
success  and  failure  of  man,  and  the  por- 
trayed causes  of  these  miserable  failures 
left  a  keen  impression  on  my  mind.  It 
excited  me  to  further  study,  a  desire  to 
make  good  in  the  world. 

Today,    I    am    a    successful  business 
woman,    daily   gaining   in   efficiency  and 
knowledge.  I  owe  a  measure  of  my  success 
understanding  of  life  gained  through 
um  of  motion  pictures. 

Marie  Weid, 
Fulton  Rancho, 
Azusa,  Cal. 


Canned  Music"  a  Joy 

is,  to  me,  mean  more  than  words 
:ribe ;  and  especially  so  since  we 
«  talkies  and  the  high  class  music 
/-.company  them.  :  One  can  scarcely 
jhat  a  change  has  taken  place  until 
pares  the  splendid  orchestral  per- 
;s  reproduced  now  with  the  'hit 
orchestra  of  just  a  short  time  ago. 
^d  music"  it  may  be,  but  what  a 
to  the  many  who  are  situated  in 
ies,  to  hear  what  only  the  large 
in  the  larger  cities  offer  to  music 
steners.    One  reads  monthly  re- 
the  newest  pictures  but  due  credit 
>e  given  also  to  the  music  which 
important  a  part, 
alkies  of  today  with  the  fine  or- 
:d  music  is  such  a  welcome  change 
e  silent  movie  and  its  old  style  of 
rjat  one  wonders  what  changes  will 
ice  in  the  future. 

Carol  B.  Hage, 
219  N.  Main  Street 
Kokomo,  Ind. 


Edmund  Lowe's  ease  and  ability 
in  portraying  silk-hat  crooks  and 
polished  man-of-the-world  roles 
have  given  him  a  great  following. 


A  Nosegay  for  Barbara  Stanwyck 

The  screen  has  discovered  marvelous 
stage  talent  in  the  person  of  Barbara 
Stanwyck.  Never  have  I  seen  a  better 
performance  than  hers  in  "Ladies  of 
Leisure."  I  saw  the  picture  four  times, 
and  could  see  it  over  and  over  again  with- 
out feeling  a  moment's  boredom. 

A  picture  such  as  this  comes  but  once 
or  twice  in  a  lifetime.  Here  was  reality 
to  stir  the  coldest  heart.  One  fairly  lived 
the  part  watching  the  marvelous  portrayal 
of  Miss  Stanwyck.  Enough  praise  cannot 
be  lavished  upon  her.  Such  realism  as  she 
displays  is  seldom  encountered  in  any  ac- 
tress. Somehow,  she  crept  right  into  my 
heart.-  A  beautiful  illusion! 

Miss  Sara  Steinberg, 
1711  Davidson  Avenue, 

Bronx,  N.  Y. 


Get  to  Work,  Doug! 

Why  in  a  few  years  has  the  motion  pic- 
ture industry,  a  medium  for  idle  enter- 
tainment, reached  a  position  rivalling  any 
industry  in  the  world?  Why  are  so  many 
millions  of  dollars  spent  and  earned,  count- 
less persons  employed  in  a  business  whose 
object  is  amusement?  The  answer  is  uni- 
versally recognized.  It  is  because  the  mo- 
tion pictures  bring  romance  into  the  ex- 
istence of  people  who  have  been  ground 
into  a  rut  of  monotony  in  this  great  mod- 
ernized road  through  life.  In  a  world  of 
system  and  efficiency  the  souls  of  all,  both 
high  and  low,  are  robbed  of  the  spirit  of 
romance  and  adventure  which,  in  the  last 
analysis,  is  all  that  makes  life  worth  the 
heart-breaking,  soul-stifling  struggle. 

The  actor  who  employs  this  gift  for  its 
highest  purpose,  who  has  carried  the  art 
of  the  motion  picture  with  him  to  perfec- 
tion, is  Douglas  Fairbanks.  No  one  can 
see  one  of  Doug's  joyous,  adventurous  pic- 
tures without  being  lifted  out  of  himself 
onto  a  higher  plane  of  striving  and  hope. 
I  sincerely  believe  that  Doug  has  accom- 
plished more  good  in  the  world  than  any 
scientist,  inventor  or  statesman  that  the 
reader  can  name. 

Leo  Goggin, 
826  West  32d  Street, 
Oklahoma  City,  Okla. 


for  October  1930 


11 

wm 


r^MAN'S  LOVE        MAN'S  HATE  ...  BLAZING  ROMAIfp 
IN  A  CITY  AFLAME  WITH  CARNIVAL  PLEASURES!^ 


In  staggering  magnificence  ...  in  ^*f.'o^ 
w  thundering  emotions  comes  "DIXIANA"  to  hold 
the  world  spellbound!  ALL  THAT  IS  LIFE  HAS 
BEEN  ENGULFED  IN  THIS  AMAZING  PRODUC- 
TION! Romance  .  .  .  Fiery  Drama  .  .  .  Bouncing 
Comedy  .  . .  Revelry .  .  .  Stupendous  Spectacle ! 
The  story  of  Two  Men  .  .  .  and  a  Woman  who 

•  set  men's  hearts  aflame  .  .  .  amid  the  Mad 

•  Abandon  and  Fevered  Passions  of  Mardi  Gras! 


MS 


BE  BE  DANIELS 

Glamorous   star  of  song  and  great  emotions. 

EVERETT  MARSHALL 

Famous  star  of  Metropolitan  Opera  Company 

BERT  WHEELER 

AND 

ROBERT  WOOLSEY 

DOROTHY  LEE 
JOSEPH  CAWTHORN 
RALF  HAROLDE 
JOBYNA  HOWLAND  and 
BILL  ROBINSON 

(World's  Greatest  Tap  Dancer) 

Music  by  Harry  Tierney,  Book  by  Anne  Caldwell 
O    Directed  by  LUTHER  REED  .  .  .  Supervised  by 
WM.  LE  BARON 

SCENES  IN  GLORIOUS  TECHNICOLOR 


TUNE    IN  EVERY 

TUESDAY 
EVENING 

THURSDAY 
AFTERNOON 

for  the  great 

RKO  HOUR 

overN.B.C.  Network 

Famous  stars  .  .  favorite 
entertainers,     news  of 
Hollywood   and  coming 
productions. 


COMING  WITH  A  RUSH!  AMOS  'N'  ANDY 
in  their  first  talking  picture,  Edna  Ferber's 
"CIMARRON",  John  Galsworthy's  "ESCAPE", 
"BABES  IN  TOYLAND",  "LEATHER  NECKING" 
and  "HALF  SHOT  AT  SUNRISE"  with  Bert 
Wheeler  and  Robert  Woolsey  .  .  .  not  to 
mention  a  grand  and  gorgeous  galaxy  of 
other  great  attractions  in  THE  NEW 
PAGEANT  OF  THE  TITANS! 

RKO  DISTRIBUTING  CORPORATION 

(Subsidiary  of  Radio  Corp.  of  America) 

1560    BROADWAY,  NEW   YORK  CITY 


PICTURES 


12 


SCREENLAND 


TABLOID  T^EVIEWS 

Convenient  Guide  to  the  Current  Films 


CLASS  A: 

The  Dawn  Patrol.  First  National.  Dick 
Barthelmess'  latest  and  best,  with  Douglas 
Fairbanks,  Jr.  and  Neil  Hamilton.  All- 
male  cast.    Don't  miss  it!* 

Romance.  Metro  -  Goldwyn  -  Mayer. 
Garbo  as  an  Italian  opera  singer.  Lewis 
Stone  and  Gavin  Gordon  assist.  Greta's 
second  talker.* 

For  the  Defense.  Paramount.  William 
Powell  at  his  best.  Engrossing  story  and 
direction.    Enhanced  by  Kay  Francis.* 

Good  Intentions.  Fox.  One  of  the  best 
of  the  underworld  melodramas.  Directed 
by  William  K.  Howard,  with  Edmund 
Lowe.* 

Let  Us  Be  Gay.  Metro  -  Goldwyn- 
Mayer.  Sparkling,  sophisticated  drawing- 
room  comedy.  Norma  Shearer  and  Marie 
Dressier  splendid. 

The  Unholy  Three.  Metro  -  Goldwyn  - 
Mayer.  Lon  Chaney's  first  talker.  Fasci- 
nating melodrama  you  must  not  miss. 
With  Lila  Lee.* 

Raffles.     United  Artists.     Ronald  Col- 
man's  latest  amusing  cinematic  adventures, 
with  Kay  Francis  and  a  great 
cast. 


Holiday.  Pathe.  Adult 
screening  of  stage  play  with 
clever  dialogue  and  smart  per- 
formances especially  by  Ann 
Harding  and  Mary  Astor. 

With  Byrd  at  the  South  Pole. 

Paramount.  Human  interest  film 
record  of  the  Rear-Admiral's 
Antarctic  expedition.    See  it. 

So  This  is  London.  Fox. 
Will  Rogers'  best  picture. 
Homely  humor  and  pretty  Mau- 
reen O'Sullivan  and  Irene  Rich. 

The  Big  House.  Metro-Gold- 
wyn-Mayer.  Gripping  prison 
drama  with  jail-break  for  cli- 
max. With  Chester  Morris 
and  Wallace  Beery. 

The  Social  Lion.  Paramount. 
Jack  Oakie  starring  in  a  prize- 
fight and  polo  comedy.  Enter- 
taining.   With  Mary  Brian. 


CLASS  B: 

Wild  Company.  Fox.  Frank 
Albertson  does  fine  work  in 
flaming  youth  drama.* 

Manslaughter.  Paramount. 
Good  performances  by  Claud- 
ette  Colbert  and  Fredric  March.* 


Ladies  of  Leisure.  Columbia.  Barbara 
Stanwyck  scores  heavily.* 

The  Border  Legion.  Paramount.  Zane 
Grey  western  with  Arlen  and  Holt.* 

Sins  of  the  Children.  Metro-Goldwyn- 
Mayer.  Splendid  performance  by  Louis 
Mann.* 

On  the  Level.  Fox.  Hokum  comedy 
with  Victor  McLaglen  and  Fifi  Dorsay.* 

A  Man  from  Wyoming.  Paramount. 
War  film  with  Gary  Cooper  and  June 
Collyer.* 

Lawful  Larceny.  RKO.  Lowell  Sher- 
man the  whole  show.   With  Bebe  Daniels.* 

Hell's  Island.  Columbia.  Melodrama 
with  Jack  Holt,  Ralph  Graves,  Dot  Sebas- 
tian.* 

The  Big  Fight.  Sono-Art.  Drama  of 
prize-ring  with  Guinn  Williams  in  Jack 
Dempsey  role.* 

This  Mad  World.  Metro-G  o  I  d  y  wn  - 
Mayer.  Turgid  war  drama  with  Kay  John- 
son, Basil  Rathbone.* 


The  Sap  from  Syracuse.  Paramiount. 
Jack  Oakie's  funniest  film.  Not  to  be 
missed.* 

Love  Among  the  Millionaires.  Para- 
mount. Little  Mitzi  Green  steals  Clara 
Bow's  picture.  Clara  not  at  her  best. 
Amusing  moments. 

Rough  Romance.  Fox.  For  those  who 
like  George  O'Brien's  type  of  two-fisted 
outdoor  film.    Clean  and  breezy. 

Spring  is  Here.  First  National.  Light 
musical  romance  with  Bernice  Claire,  Law- 
rence Gray,  Alexander  Gray,  and  some 
good  comedy. 

Young  Desire.  Universal.  Romance  of 
carnival  girl  and  rich  boy,  with  appealing 
performances  by  Mary  Nolan  and  William 
Janney. 

Hot  Curves.  Tiffany.  Baseball  comedy 
with  Benny  Rubin's  brand  of  humor, 
supported  by  Pert  Kelton,  comedienne 
from  the  stage. 

Inside  the  Lines.  RKO.  Secret-service 
drama    of    average    interest    with  Betty 
Compson  and  Ralph  Forbes  re- 
deeming features. 


Strictly  Unconventional. 

M  etro-Goldwyn-M  ayer.  Talker 
version  of  "The  Circle"  doesn't 
click.  With  Catherine  Dale 
Owen,  Lewis  Stone. 


Mitzi  Green  and  Clara  Bow  in  "Love  Among 
the  Millionaires."  Mitzi  scores! 


Sweet  Mama.  First  National. 
Alice  White  deserves  better 
material  than  this  mediocre 
crook  story.    Not  so  good. 


One  Mad  Kiss.  Fox.  Don 
Jose  Mojica's  fine  tenor,  Tony 
Moreno's  screen  technique. 
Mono  Maris'  beauty — and  that's 
about  all ! 


The    Czar    of  Broadway. 

Universal.  Another  crook 
drama  with  John  Wray,  Betty 
Compson,  and  Johnny  Harron. 
Not  outstanding. 


Night  Work.  Pathe.  If  you 
like  Eddie  Quillan's  brand  of 
comedy  you'll  enjoy  this.  Sally 
Starr  supplies  the  love  interest. 


Sisters.  Columbia.  Interest- 
ing chiefly  because  it  shows 
Sally  O'Neil  and  her  sister, 
Molly  O'Day,  in  the  same  pic- 
ture. 

*Reviewed  in  this  issue. 


for    October  1930 


17 


THE  EDITOR'S  PAGE 


DAVID  BELASCO,  the 
white-haired  dean  of  the 
American  dray-ma,  has 
spoken.  This  time  he 
raises  his  dulcet  voice  against — 
guess  what? — why,  talking  pic- 
tures !  You  see,  the  Dean's  new 
play  was  opening  and  he  was 
celebrating  his  seventy-seventh 
birthday — altogether  an  auspi- 
cious occasion  for  breaking  into 
the  public  prints  by  squawking 
about  the  talkies. 


Said  Belasco :  "If  I  were 
younger  and  had  plenty  of  money 
I  would  go  into  the  production  of  silent  pictures. 
This  is  the  great  field  for  the  right  man  today. 
Good  silent  films  would  sweep  the  country.  The 
great  mistake  of  the  motion  picture  producers 
was  that  of  launching  talking  pictures.  The  si- 
lent film  was  one  of  the  most  interesting  devel- 
opments in  the  field  of  entertainment.  It  has 
deteriorated  with  the  introduction  of  the 
'squawkies.' 

"They  cannot  turn  out  good  talking  pictures 
on  a  large  scale.  A  producer  of  legitimate  drama 
has  to  work  and  struggle  with  raw  material  all 
year  and  he  is  exceedingly  lucky  if  he  produces 
one  or  two  good  plays.  The  talking  picture  com- 
panies aim  at  producing  twenty-five  or  thirty  or 
more  talkies  in  the  course  of  a  year.  No  wonder 
the  average  talking  picture  is  what  it  is.  The 
picture  producer  can  never  get  playwrights  to 
turn  out  good  work  on  any  such  scale. 

"As  the  public  is  turning  away  from  the  talking 
pictures,  it  is  ready  to  turn  towards  the  silent 
picture  again." 

"If  I  had  a  talking  picture  of  you-oo-oo,"  Mr. 
Belasco !  Now  let's  look  into  this  thing.  Here 
are  some  interesting  items  : 

Paramount-Publix  is  planning  to  erect  the 
world's  largest  film  theater  on  Broadway,  New 
York — diagonally  across  from  the  Paramount 
Theater  on  the  corner  of  Forty-fourth  Street. 


It  will  be  in  a  skyscraper  more 
than  twice  as  tall  as  the  present 
Paramount  Building,  and  will 
seat  about  6,000  persons.  What  do 
you  make  of  that,  Mr.  Belasco? 

If  you  are  still  thinking  harsh 
thoughts  about  the  talking  pic- 
ture business  consider  the  fact 
that  the  Western  Electric  sound 
systems  in  use  in  theaters  now 
total  6,160. 

And   that    Warner  Brothers 
will  soon  present  the  new  wide 
film  they  have  been  working  on — 
pioneering  again,  these  boys. 

But  maybe  you  would  rather  hear  what  some 
of  our  film  theater  managers  have  been  up  to, 
Mr.  Belasco?  They  are  offering  a  combination 
of  golfies  and  talkies.  With  miniature  golf  call- 
ing from  one  side  and  talkers  from  the  other,  it's 
smart  to  merge — and  some  theaters  have  minia- 
ture courses  outside  or  next  door  or  even  in  the 
lobby  so  that  picture  patrons  may  put  themselves 
in  the  proper  frame  of  mind  to  enjoy  Ronald 
Colman's  or  Norma  Shearer's  latest.  There's  one 
theater  in  Minneapolis  that  has  a  roof  garden 
serving  free  lunch — coffee  and  sandwiches  with 
the  compliments  of  the  management.  That's  one 
you  never  thought  of,  Mr.  Belasco. 

So  the  public  is  turning  away  from  talking 
pictures,  is  it?  It  didn't  look  that  way  when  I 
watched  the  crowds  squeezing  into  the  Paramount 
to  see  "For  the  Defense,"  or  the  Winter  Garden 
to  watch  "The  Dawn  Patrol" —  and  these  theaters 
don't  serve  sandwiches,  either.  Of  course,  it's 
true  we  are  all  fed  up  with  the  girl-and-music 
backstage  screen  shows.  But  the  producers  know 
it  and  they  aren't  making  any  more.  They  are 
looking  in  other  directions.  Pictures  like  "The 
Dawn  Patrol,"  "For  the  Defense,"  and  "Let  Us 
Be  Gay"  will  worry  Mr.  Belasco.  They  are  turn- 
ing people  away,  all  right — just  because  they  can't 
all  get  in  at  once  to  see  them.  No,  Mr.  Belasco — 
I'm  afraid  you'd  lose  your  bank-roll! 

D.  E. 


18 


SCREENLAND 


The  Swedish  girt  who  faced 
Holly  wood  five  years  ago  wore 
her  hair  in  too  many  curls 
and  used  too  much  make-up 
on  her  eyes.  See  the  picture 
at  the  left.  Then  the  miracle- 
workers  took  her  in  hand 
and — presto! — look  at  Greta 
Garbo  today.    {Left,  below.) 


Anita  Page's  appearance  was 
changed  when  the  beauty 
experts  plucked  her  eye- 
brows. Anita  needs  very 
little  beautification.  But 
from  the  sweet  little  girl 
you  see  at  the  right  she  be- 
came the  dazzling  beauty 
you  see  below,  right,  when 
her  brows  were  thinned  and 
cunningly  curved. 


Miracles 

The  battle  of  beauty  is  being  constantly  fought 
of  the  lipstick,  the  eyebrow  pencil,  and  the  satin 


THE  pen  may  be  mighter  than  the  sword,  but  the 
lipstick  and  eyebrow  pencil  are  even  more  powerful 
than  the  pen. 

To  say  nothing  of  the  potency  of  a  few  yards  of 
well-draped  satin  and  one  or  two  deftly-placed  pins. 

Every  day  these  three — the  lipstick,  the  eyebrow  pen- 
cil and  the  satin,  are  winning  new  beauty  battles  in 
Hollywood. 

After  a  few  hours  with  the  make-up  artists,  the  hair- 
dressers, and  the  gown  designers,  homely  girls  emerge 
as    beauties    and    beautiful    maidens    become  breath- 


taking visions.    It  happens  every  day  in  Hollywood. 

An  added  curve  of  scarlet  mouth,  a  deepened  bluish 
shadow  beneath  the  eyes,  a  wider  wave  in  the  close- 
fitting  cap  of  hair  makes  little  Jill  an  entirely  different 
girl.   Even  her  best  friends  might  not  know  her. 

There  is,  for  instance,  the  now  famous  case  of  a  girl 
called  Greta  Garbo. 

Surely  the  frightened,  speechless,  shabby  Swedish 
girl  who  faced  Hollywood  five  years  ago  was  nothing 
to  inspire  the  writing  of  long  letters  home.  Almost 
everyone  remembers,  and  gasps  at  the  memory,  the  first 


for    October   19  3  0 


19 


When  Lucille  Le  Sueur  ar- 
rived in  Hollywood  she  was 
too-made-up,  careless  of  her 
clothes.  Then  Lucille  be- 
came Joan.  She  toned  down 
her  make-up,  was  given  a 
complete  clothes  transfor- 
mation, and  the  result  is  a 
smart,  well-groomed  modern 
girl,   not   a    giddy  flapper. 


Norma  Shearer  used  to  be 
the  pretty  girl  you  see  at  the 
right,  just  like  hundreds  of 
other  pretty  girls.  Then  she 
studied  her  good  features 
and  enhanced  them — un- 
covered her  perfect  little 
ears,  smoothed  her  hair  in 
an  individual  bob,  and  blos- 
somed into  the  Norma  you 
know,  below. 


of<J\tA 

and  won  in  Hollywood.  Artists 
turn  out  triumphs  of  loveliness 

pictures  made  of  Garbo  as  she  stood  in  a  shapeless 
checked  suit  on  the  deck  of  the  ship  which  brought  her  to 
these  shores  and  to  a  fame  which  has  surpassed  her  own 
fondest  hopes. 

Almost  everything  about  that  girl  was  wrong.  She 
wore  her  hair  in  too  many  curls.  She  used  too  much 
make-up  on  her  eyes  and  cheeks,  following  the  foreign 
custom  of  overdone  artificiality.    Her  clothes  didn't  fit. 

Then  the  miracle-workers  of  Hollywood  took  her  in 
hand.    Look  at  her  today ! 

The  first  thing  which  the  make-up  experts  did  was  to 


KE-UP 

By 

Sydney  Valentine 

remove  two-thirds  of  the  blue  shadows  about  her  eyes 
and  the  rouge  on  her  cheeks.  Carefully  they  arched  and 
thinned  her  eyebrows.  Her  mouth  they  didn't  touch. 
It  was  perfect.  Greta,  herself,  designed  the  plain,  long- 
bob  hair  style  which  has  been  copied  in  every  nook  and 
corner  of  the  world. 

And,  while  we  are  on  the  interesting  subject  of  the 
Garbo  face,  let  me  add  that  her  eyelashes  are  her  very 
own,  every-  hair  of  them.  These  lashes  seem  to  have  be- 
come the  subject  of  much  controversy.  They  are  almost 
too  long  and  too  thick  to  be    (Continued  on  page  110) 


20 


SCREENLAND 


Right,  Hoot  Gibson's  partner  in 
his  second  try  for  happiness  is 
pretty  little  Sally  tilers. 


Billie  Dove,  below,  dared  to  carry 
her  marital  troubles  to  the 
divorce  court.    Now  she's  free. 


Corinne  Griffith's  second  mar- 
riage,  to  Walter  Morosco,  has 
brought  her  real  happiness. 


Dare  the 

Yva  Again  for 


DARE  a  screen  star  try  again  for 
happiness  ? 
That  is  the  question  which  is 
staring  Hollywood  in  the  face 
right  now.  For  during  the  last  few 
months,  three  of  the  best  loved  stars  in  the 
industry — Billie  Dove,  Betty  Compson, 
and  Colleen  Moore — have  had  the  courage 
to  risk  their  professional  necks  by  decid- 
ing to  divorce  their  husbands.  And  dur- 
ing the  last  few  years,  some  half  hundred 
other  stars  and  players  have  had  to  take 
a  similar  decisive  stand  on  the  divorce 
question  in  the  hope  of  wresting  future 
happiness  out  of  present  discontent. 

You  may  not  have  realized  it,  but  the 
professional  and  personal  happiness  of 
fifty  or  sixty  stars  lies  right  in  your  hands, 
right  this  moment.  Because  you  can 
make  or  break  them  at  the  box-office 
window.  It's  a  strange  and  sad  fact  that 
Mary  Harris,  of  Fort  Wayne,  may  de- 
cide she  is  tired  of  baving  her  husband  use 
her  head  as  a  target  for  soup  plates  every 
time  he  gets  annoyed.  She,  therefore,  tells 
her  troubles  to  a  judge  and  gets  relief  in 
the  form  of  divorce — and  nobody  criticizes 
her.    But  just  let  a  well-known  movie  star 


A  second  chance!  That's  what  some 
of  our  stars  are  asking  today.  Stand  by! 


Colleen    Moore    divorced  John 
McCotmick  although  her  religion 
frowns  on  divorce. 


dare  to  thrust  her  hand 
into  the  grab  bag  of  hap- 
piness for  a  second 
chance,  and  the  world 
may  fall  about  her 
ears !  For  nearly  every 
newspaper  in  the  coun- 
try features  her  decision 
on  the  front  page.  And 
hundreds  of  thousands 
of  picturegoers  take 
pens  in  hand  and  begin 
to  speak  their  minds. 

When  her  public  are 
broad-minded  and  toler- 
ant enough  to  realize 
that  a  star  is  a  woman 
first  and  a  moving  pic- 
ture actress  second,  the 
player  can  go  and  get 
her  divorce  and  still  not 
risk  losing  her  following 
at  the  box  office.  But 
if     they     decide  they 


for    October  1930 


21 


Happiness? 


coming  more  intelligent,  more  sophisti- 
cated, and  more  typically  cosmopolitan 
in  their  outlook  on  the  personal  lives  of 
their  favorites,  and  in  other  ways  as 
well.  Previously,  many  thought  the 
players  lived  lives  of  complete,  idyllic 
happiness.  Something  like  every  idealist 
has  dreamed  of  achieving  since  the  days  of 
Plato!  Beautiful  homes,  with  the  sun  on 
one  side,  the  sea  on  the  other;  cars,  jewels, 
exquisite  clothes,  health,  beauty,  and 
freedom — not  only  from  financial  worries 
but  freedom  to  develop  in  the  art  they 
love.  What  more  could  a  person  want 
than  to  be  a  star  in  Hollywood,  we  used 
to  ask !  But  now,  mental  grown-ups  that 
we  are,  we  realize  that  although  the  film 
actresses  may  possess  every  material  com- 
fort, frequently  real  love  has  eluded  them. 

Take  Betty  Compson,  for  instance. 
Surely  if  any  woman  in  the  whole  film 
colony  deserves  happiness  she  does.  And 
she  had  it  with  her  husband,  Jim  Cruze, 
for  several  years.  But  that  freedom  to 
develop  in  the  art  she  loves — which  we 
spoke  of  in  the  last  paragraph — was 
denied  her.    It  all  happened  like  this : 

Three  years  {Continued  on  page  114) 


By  Rosa  Reilly 


don't  want  her  to  be 
divorced  and  turn 
thumbs  down  on  her,  in- 
evitably that  person's 
professional  career  is 
dead  and  she  quickly 
passes  out  of  the  picture, 
if  she  persists  in  going 
against  her  public's 
wishes. 

You  probably  never 
thought  of  it  in  that 
light  before,  did  you? 
You  never  realized,  per- 
haps, just  what  a  close 
relationship  you  per- 
sonally bear  to  your 
favorite  star's  home  and 
happiness ! 

Fortunately,  with  the 
inception  of  talking  pic- 
tures, the  film  industry 
began  to  grow  up.  Pic- 
turegoers   are    fast  be- 


Reginald  Denny  sought  second 
happiness  with  "Bubbles"  and 
seems  to  have  found  it. 


22 


SCREEN LAND 


cJftfARY 


Will  the  big  twin 
thrones  of  Hollywood 
soon  be  for  sale? 


"And    the    Sage    said    to    the  King-Who-Had- 

Everything:    'You  must  die  unless  you  sleep 

in  the  shirt  of  a  Happy  Man.' 
So  the  King  dispatched  couriers  to  every  corner 

of  his  desmesne  that  they  might  bring  him  the 

shirt  of  a  Happy  Man. 
But   each   subject   questioned   dwelt   with  sorrow. 

Then  finally  the  seekers  found  a  man  who  was 

happy.    He  was  a  begger  and  hadn't  a  shirt 

to  his  back !" 

From  An  Old  Tale. 


WHAT'S  happened  to  Mary? 
And  what's  happened  to  Doug? 
Mary  wants  to  work.     Doug  wants  to 
play — they  say. 
Doug  likes  his  golf.    Mary  doesn't  like  to  be  a 
golf -widow — like  several  thousand  other  big-business 
men's  wives. 

So  Doug  may  golf  and  Mary  may  work.  Why 
not,  and  who  has  a  better  right  ? 

Sometimes  Doug  doesn't  seem  to  care  if  he  never 
makes  another  picture.    He  is  fed  up  with  the  cares 
of  production  and  unless  he  finds  a  story  to  suit 
him  he'll  just — play  golf?    But  Mary — who  has 
trouped  ever  since  she  was  a  golden-haired  child — 
is  probably  happiest  when  she  is  in  the  throes  of  a  new 
picture.    The  business  is  in  her  blood.    Trips  around 
the  world — visiting  celebrities  at  Pickfair — all  the  pres- 
tige of  being  screenland's  First  Lady — have  not  made 
Mary  Pickford  a  contented  woman.    Her  fame,  hard- 
won  as  a  curly-haired  child,  is  ever  snapping  at  her  heels. 
So  she'll  keep  on. 

Right  now,  it  looks  as  though  she  couldn't  make  up 
her  mind  about  her  new  picture,  "Forever  Yours."  She 
started  it,  got  halfway  through  after  spending  $250,000 
— and  then  scrapped  the  results !  She  may  make  it  yet. 
Meanwhile,  she  and  Doug  have  been  cruising  on  Joe 
Schenck's  yacht.  Doug  has  been  talking  about  starring 
in  "Reaching  for  the  Moon,"  with  Bebe  Daniels  as  his 
leading  woman.  Bebe,  they  say,  hasn't  definitely  made 
up  her  mind  as  to  whether  she  wants  to  take  secondary 
billing — Doug  won't  share  his — after  being  a  big  star 
in  her  own  right.  Mary  has  disbanded  her  production 
staff  and  will  make  her  future  films,  if  any,  under  the 
business  management  of  Mr.  Schenck. 

When  Mary  and  Doug  were  in  New  York  together 
after  the  release  of  "Coquette"  Mary  Pickford  was 


"Forever  Yours,"  Mary  Pickford!  Mary,  the  sweet 
little  girl  with  the  golden  curls,  still  occupies  that 
great,  big  throne,  still  wears  that  cumbersome 
crown.  Right  now  her  new  talker  has  not  been 
completed  and  she  hasn't  announced  her  new  plans. 


By  Herbert 


tired,  and  looked  it.  She  was  suffering  from  headaches. 
Some  of  the  reviews  of  her  picture  had  been  a  blow  to 
her.  She  saw  some  reporters  in  the  lobby  of  the  Algon- 
quin Hotel  and  one  of  them  asked  her:  "Why  don't  you 
get  some  rest?"  "Oh,"  said  Mary  with  a  weary  little 
smile,  "Douglas  has  seats  for  the  'Vanities'  tonight." 

"Why  don't  you  call  it  off?"  persisted  the  sympathetic 
reporter. 

Mary's  eyes  widened.  "Why,  we  couldn't  do  that!" 
she  said.    "It's  all  arranged." 

Schedules.  Routines.  Obligations.  Not  even  a  visit 
to  a  theater  can  be  disregarded.    The  show — the  big 


! for   October  1930 


23 


Doug  may  play  in  "Reaching  for  the  Moon"  with 
Bebe  Daniels.  On  the  other  hand,  he  may  just  play 
— golf.  Is  he  ready  to  retire  and  rest  on  his  laurels, 
glad  to  be  Mr.  D.  Fairbanks,  of  Beverly  Hills, 
California?    Talker  technique   cramps   his  style. 


Cruikshank 


show  of  King  and  Queen  of  Movieland — must  go  on. 
Mary  Pickford  has  been  acting  her  super-role  for  so 
long  that  her  original  identity — little  Gladys  Smith — 
has  been  overlaid  with  glory  and  money  and  adulation. 
Her  best  friends  can't  call  Mary  Pickford  a  contented, 
happy  woman.  But  she  has  everything  in  the  world. 
Only  sometimes — maybe — little  Gladys  Smith  creeps  in 
and  spoils  everything  by  asking:  "What's  it  all  about. 
Mary?   Where  are  we  going,  anyway?" 

Fairbanks  wants  to  retire,  according  to  some  reports. 
He  has  made  money.  He  believes  his  pictorial  style  has 
been  cramped  by  the  new  talker  technique.    He  wants 


©OUG 


Will — in  other 
words — Mr.  and  Mrs. 
Fairbanks  retire? 


action,  and  still  more  action.  How  to  get  that 
action  in  a  sound  picture?  Neither  he  nor  Man- 
was  entirely  happy  about  "The  Taming  of  the 
Shrew,"  they  say.  Their  first  co-starring  screen 
venture  was  also  their  last.  They  finished  it  and 
forgot  it  on  their  world  tour.  But  Mary  came  back 
and  wanted  to  work  again.  And  Doug  wanted  to 
keep  on  playing. 

Here,  in  the  Pickford-Fairbanks  alliance,  is  a 
great  business  partnership  with  invested  capital 
amounting  to  millions,  and  vast  interests  which  inter- 
locked. Here  were  two  gigantic  stockholders  in  that 
close  corporation  known  as  "United  Artists."  In 
silent-picture  days,  they  reigned  supreme.  Came 
talkers,  and  new  stars  began  to  twinkle.  "Coquette" 
and  "The  Taming  of  the  Shrew"  were  topped  by 
other  pictures.  Doug  declared  himself  as  unwilling 
to  make  "just  another  talkie."  But  Mary — Mary  who 
worked  so  hard  to  make  "Coquette"  a  success,  Mary 
who  in  silent  days  was  the  queen  of  them  all  and  in 
1929-30  must  share  her  place  with  half  a  dozen 
other,  newer,  brighter  stars — stuck  gamely  and 
grimly  to  her  plans.  She  spent  thousands  making  a 
sound  re-make  of  Norma  Talmadge's  "Secrets." 

Doug  went  to  Europe  to  see  some  golf.  Without 
Mary !    But  when  a  guest  asked  Mary,  on  a  tour  of 
Pickfair:  ".  .  .  and  this  is  your  room?"  there  was 
the  gentle  correction:    "This  is  our  room!" 

And  then  came  the  news  that  Mary  had  abandoned 
her  production.  She  is  no  spendthrift — the  investment 
was  well  over  a  quarter-million — but — the  picture  was 
shelved.  Doug  hurried  home.  And  Pickfair  once 
more  housed  its  master  and  mistress.  Mary's 
niece.  Gwyn,  returned  from  school  in  Switzerland, 
seemed  serene  in  the  big  house  on  the  Beverly  hill. 


little 
All 


Will  they  retire,  this  King  and  Queen  who 


have 


reigned  so  long?  Or  will  Doug,  grinning,  run  out  for 
golf  and  Mar}'  start  her  picture  all  over  again?  Well, 
if  Doug  wants  to  go  golfing — here's  luck  for  every 
stroke.  And  as  for  Mary — "Our  Mary" — she  can  have 
her  throne  as  long  as  she  wants  it,  but  we  hope  she'll 
squeeze  some  happiness  out  of  the  future  and  hand 
some  to  that  little  Gladys  Smith.  If  we  could  see  once 
more  that  spontaneous  twinkle  in  her  eyes  that  we  used 
to  see  in  the  days  of  "Daddy-Long-Legs"  and  her  old 
triumphs ;  that  magnificent  twinkle  that  seemed  to  die 
when  the  audible  Mary  was  born  on  the  screen — then 
we'll  know  that  some  one  of  her  adorers — and  there  are 
lots  of  them  left — has  lent  Marv  Pickford  a  shirt ! 


24 


SCREENLAND 


Left,  Marie  Dressier,  a 
star  at  the  age  of 
"somewhere  near  a 
thousand," .  she  says! 


Right,  George  Fawcett, 
who  played  with  the 
elder  Salvini,  is  going 
strong  as  a  screen 
character  actor. 


Extreme  right,  Beryl 
Mercer,  who  couldn't 
play  all  the  talker  roles 
offered  her  even  if  she 
were  twins! 


No  Age  Limit 


The  screen  is  no  longer 
dedicated  to  youth.  The 
oldsters  are  having  their 
say  and  their  day 


IF  anyone  should  ask  you  "Where  is  the  fountain  of 
youth?"  you  might  reply:  "In  Hollywood!"  and 
not  be  far  wrong,  for  there's  no  age  limit  in  pic- 
tures. 

Some  of  the  players  most  in  demand  at  the  studios 
have  reached  what  used  to  be  called  'years  of  discre- 
tion,' their  popularity  increasing  with  every  appear- 
ance on  the  screen. 

Take  George  Fawcett,  whose  stage  experience  reaches 
back  to  the  days  of  the  elder  Salvini,  who  played  Iago 
to  his  Othello. 

Several  years  ago  Schumann-Heink,  the  great  con- 
tralto, sent  Mr.  Fawcett  her  photograph  stating  that, 
though  she  had  never  met  him,  he  was  her  favorite 
actor.  Mr.  Fawcett  replied,  with  an  autographed  pic- 
ture of  himself,  that  she  was  his  favorite  star  of  the 
operatic  stage.  Followed  an  occasional  interchange  of 
letters,  in  which  Mrs.  Fawcett  (Percy  Haswell)  took  a 
special  pride.  But  it  was  not  until  last  May,  when 
Mr.  Fawcett  made  a  local  appearance  in  his  one-time 


stage  success,  "The  Great  John  Ganton,"  that  they 
met. 

Schumann-Heink  occupied  a  seat  in  the  first  row  of 
the  orchestra  and  applauded  frequently  and  with 
enthusiasm.  After  the  last  curtain,  she  Vent  back- 
stage and  congratulated  the  star. 

"On  my  dressing-table,  I  have  but  four  pictures," 
she  told  him,  "and  one  of  them  is  yours!" 

The  singer's  admiration  has  been  shared  by  many 
during  the  more  than  two-score  years  of  Mr.  Fawcett's 
professional  life.  At  21,  he  made  his  first  bow  on  the 
New  York  stage,  which  always,  thereafter,  greeted  him 
with  applause,  whether  he  supported  reigning  stars  (he 
was  with  Maude  Adams  for  three  years)  or  starred  in 
his  own  vehicles. 

His  success  was  no  less  in  London,  where  he  was 
signally  honored  by  being  made  honorary  member  of 
the  renowed  Beefsteak  Club,  to  which  but  two  others 
were  admitted — -the  late  Theodore  Roosevelt  and  Lord 
Kitchener. 

Since  1914,  the  actor  has  been  a  familiar  figure  on  the 
screen,  and  the  advent  of  talkies  has  served  to  strengthen 
his  hold  on  an  ever  increasing  audience. 

That  youth  no  longer  rules  the  screen  is  attested  by 
Beryl  Mercer,  creator  of  Mrs.  Dowey  in  "Seven  Days' 
Leave,"  who  couldn't  play  all  the  roles  offered  her  if 


Right,  Alison  Skip- 
worth,  famous  stage 
dowager,  says  that 
talkies  "have  made  act- 
ing a  pleasure"  for  her! 


Left,  Hobart  Bosworth, 
at  63,  finds  himself  so 
popular  that  he  some- 
times plays  in  two 
pictures  at  once. 


Extreme  left,  Joseph 
Cawthorn,  a  musical 
comedy  favorite  for 
years,  is  repeating  his 
success  in  films 


for   October  193  0 


25 


Right,  Louise  Dresser, 
once  a  favorite  in  light 
opera,  now  a  famous 
mother  of  the  screen. 


Lef  t,  you  all  know  Alec 
B.  Francis.  A  veteran 
of  silent  films,  he  has 
won  new  success  in 
the  speakies. 


Extreme  left,  Bodil 
Rosing,  a  grandmother, 
is  more  in  studio  de- 
mand than  most  Holly- 
wood ingenues. 


in  Hollywood! 


1  she  were  twins.    She's  in  constant  demand. 

Born  in  Spain  of  a  Spanish  father  and  half-English, 
half-French  mother,  Beryl  was  endowed  with  enormous 
black  eyes  and  a  gift  for  drama.  At  the  age  of  four — 
her  father  having  removed  to  London — she  made  her 
debut  at  the  Drury  Lane  Theater  in  a  pantomime.  At 
seventeen  she  was  leading  lady  to  Sir  Herbert  Tree,  and 
before  she  was  twenty,  was  the  toast  of  the  English 
capital. 

1914  marked  her  appearance  on  the  New  York  stage, 
her  first  picture  work  at  Fort  Lee — -and  the  war. 
Beryl  went  to  France  as  an  entertainer,  served  for  two 
vears  and  was  presented  with  a  medal  by  Queen 
Alexandra. 

We  think  of  her  as  new  to  the  screen  because  pro- 
ducers brought  her  to  Hollywood  to  repeat  her  stage 
success  in  the  Barrie  play,  but  she  has  worked  in  many 
pictures,  among  them  "The  Christian,"  in  which 
Richard  Dix  achieved  film  fame. 

She  is  under  five  feet  tall  and  terrified  of  interviewers! 

Joseph  Cawthorn's  long-term  contract  with  RKO 
is  another  proof  of  the  fact  that  the  mature  player  ap- 
peals to  today's  sophisticated  audiences. 

On  the  stage  since  babyhood,  Mr.  Cawthorn  was  a 
musical  comedy  favorite  for  years,  his  final  role  being 
that  of  principal  comedian  in  "Sunny"  with  Marilyn 


By 

Ruth  Tildes  ley 

Miller.  Since  then,  his  name  is  seen  on  cast  sheets  for 
film  plays,  notably  in  German  dialect  roles. 

In  addition  to  his  foot-and-kleig-light  fame,  Mr. 
Cawthorn  is  one  of  the  greatest  concertina  players  in 
the  world.  The  ordinary  concertina  has  48  notes,  but 
the  actor's  instrument  was  specially  made  for  him  and 
has  103. 

When  Sam  Taylor,  producer-director  of  "Du  Barry, 
Woman  of  Passion,"  Norma  Talmadge's  latest  talker, 
asked  Alison  Skipworth,  member  of  the  cast,  why  she 
became  an  actress,  Miss  Skipworth  replied:  "To  keep 
from  starving  to  death!" 

"That  was  31  years  ago,"  she  explained.  "My 
husband,  Frank  Markham-Skipworth,  was  an  artist 
and  we  were  very  poor.  All  I  had  was  a  good  singing 
voice,  and  because  I  wanted  to  eat  I  marketed  my  voice. 
I  went  to  see  George  Edwards,  London  producer,  and 
half  an  hour  later  came  out  with  a  five-year  contract." 

She  began  as  understudy  for  Marie  Tempest  and 
nine  months  later  was  playing     {Continued  on  page  116) 


Left,  Lionel  Belmore  is 
another  grand  young 
man  of  the  movies. 
Old  age?  Not  for  him, 
says  Lionel. 


Right,  J.  Farrell  Mac- 
Donald  started  in  1908 
in  the  "Broncho  Billy" 
pictures.  Still  busy 
and  still  popular! 


Extreme  right,  Herbert 
Bunston,  the  Lord 
Elton  of  "The  Last  of 
Mrs.  Cheyney,"  created 
the  role  on  the  stage. 


26 


SCREE NLA ND 


e?ING 

AS  YOU 

SPEAK! 

SAYS 

Lawrence 

TIBBE  TT 


A  great  name  in  opera,  in 
concert,  in  movies:  Tibbett! 
A  great  voice,  a  great  actor. 
And  a  great  and  under- 
standing person,  as  he 
proves  in  the  invaluable 
advice  he  gives  out  of  his 
own  intimate  experience. 
We're  proud  of  this  article! 


SO  many  young  singers  come  to  me  for  ad- 
vice. Asking  me  what  exercises  they  should 
study,  what  teacher  I  recommend,  whether 
I  think  they  have  possibilities,  and  what  do 
I  think  they  should  do  to  become  great  singers! 
To  all  I  have  but  one  answer.    I  ask  them  this 
question:   "Are  you  unable  to  prevent  yourself 
from  singing?"    If  the  urge  within  you  to  sing  is  so 
strong  that  neither  time  nor  tide,  poverty  nor  setbacks 
can  keep  you  from  singing,  you  need  not  worry  about 
exercises,  methods  or  whatnots.    Not  that  I  discredit 
the  importance  of  these  factors  but  the  most  important 
thing  is  the  desire  zvithin. 

In  my  case,  I  believe  I've  learned  as  much  on  the  plat- 
form, before  audiences,  as  I  have  from  any  studying 
I've  ever  done  with  or  without  a  teacher.  The  platform 
— concert  or  operatic — and  also  the  'mike'  are  great  sing- 
ing teachers.  I've  been  singing  about  in  moving  picture, 
vaudeville  and  legitimate  theaters,  in  churches  and  clubs 
ever  since  I  was  tall  enough  to  wear  long  pants — and 
before.  Every  time  I  sang  I  criticized  myself  and  I 
listened  to  the  criticism  of  those  who  I  knew  had  my 
interest  at  heart,  and  the  next  time  I  made  a  public 
appearance  I  tried  to  improve.  To-day  I  have  to  work 
just    as    hard    and    think    just    as    seriously  about 


There  are  opera  stars  and  movie  actors — there  is  only  one 
Lawrence  Tibbett.    His  whole-souled  personality,  quite 
as  completely  as  his  magnificent  voice,  has  captured  the 
popular  imagination. 


singing  as  I  did  in  those  early  days  of  my  career. 

There  is  no  Royal  Road  to  Singing.  Good  singing 
grows  out  of  good  speech.  Singing  might  well  be  called 
sustained  speech.  Just  as  you  have  to  think  before  you 
speak,  if  your  thoughts  are  going  to  be  expressed  in 
words  of  weight  and  sincerity,  so  do  you  have  to  think 
when  you  sing.  The  person,  actor  or  layman,  who 
speaks  convincingly  and  with  beautiful  tones  that  ring 
and  echo  in  your  heart  is  one  who  speaks  with  sincere 
thinking  behind  his  words.  This,  I  think,  is  the  keynote 
of  good  singing.  Sing  as  you  speak.  That  means  you 
must  know  how  to  speak,  also. 

Another  conclusion  I  have  reached,  not  haphazardly 
nor  swiftly  but  after  many  experiences,  is  that  the  more 
you  sing,  the  better  you  sing.  I've  tried  resting  the  voice 
for  a  week,  a  month  or  longer,  and  each  time  when  I've 
started  to  sing  again,  hoping  I  would  be  rested  and  full 
of  renewed  energy,  because  of  the  complete  relaxation 


for    October  1930 


27 


I  had  taken,  I  would  find  my  voice  stiff  and  rusty,  and 
my  soul  felt  rusty,  too !  I  had  lost  my  endurance,  and 
had  to  battle  days  to  get  the  voice  in  shape  again.  Be- 
sides the  physical  work  I  had  to  do  to  get  in  voice 
again,  the  mental  agony  of  thinking  one's  voice  has  gone 
is  dreadful.  So  I  have  reached  the  conclusion  that  the 
way  to  keep  a  voice  in  shape  is  to  sing,  sing,  sing ! 

I  even  sing  away  my  colds  and  my  moods.  Except 
for  the  first  year  that  I  sang  at  the  Metropolitan  I  have 
never  cancelled  a  performance  or  a  concert.  My  first 
year  at  the  Met.  I  lived  through  one  of  those  hectic 
periods  that  life  seems  to  hand  you  on  the  same  platter 
that  she  serves  you  prosperity  and  success.  I  had  the 
flu,  the  mumps  and  one  very  bad  throat,  so  I  did  cancel 
a  few  performances,  but  generally  I  use  my  voice  instead 
of  letting  it  use  me. 

I  often  think  of  one  of  my  concerts  last  season.  Just 
a  few  hours  before  I  was  to  sing  I  received  some  very 
tragic  news,  something  that  upset  me  mentally  more 
than  anything  I  have  ever  experienced.  I  walked  the 
streets  for  over  an  hour,  feeling  I  would  rather  die  than 
give  that  concert ;  however,  I  sang ;  and  out  of  the  forty- 
five  concerts  I  gave  last  season  I  consider  that  was  by 
far  my  best. 

I  do  not  disparage  the  necessity  of  teachers,  for  to 
become  a  singer  you  must  have  a  good  teacher  sometime 
during  your  career.  You  should  have  one  always.  I 
am  indeed  grateful  to  Frank  La  Forge,  with  whom  I  still 
study  whenever  I  am  in  Xew  York.  He  has  given  me 
much,  and  I  hope  any  success  I  attain  may  in  a  degree 
express  my  sincere  gratitude  to  him. 

Every  singer  owes  a  debt  to  some  understanding 
teacher  or  teachers,  one  who  is  really  in  sympathy  and 


Listen  to  Tibbett! 

There  is  no  Royal  Road  to 
Singing.  Good  singing  grows  out 
of  good  speech. 

The  more  you  sing,  the  better 
you  sing.  The  way  to  keep  a 
voice  in  shape  is  to  sing,  sing, 
sing!  I  even  sing  away  my  colds 
and  my  moods.  I  use  my  voice 
instead  of  letting  it  use  me. 

Just  a  few  hours  before  I  was 
to  sing  in  one  of  my  concerts  last 
season  I  received  some  news  that 
upset  me  mentally  more  than 
anything  in  my  experience.  I 
walked  the  streets  for  an  hour, 
feeling  I  would  rather  die  than 
sing.  But  I  sang;  and  out  of  the 
45  concerts  I  gave  last  season  I 
consider  that  was  by  far  my  best ! 


Tibbett  says  he  has  to  work  just 
as  hard  today,  and  think  just  as 
seriously  about  singing,  as  he  did 
in  the  days  before  he  arrived. 


Right,  as  the  star  of  "The  Rogue 
Song,"  his  first  motion  picture, 
he  became  an  idol  of  screen 
audiences.  His  next?  "Sew Moon." 


harmony  with  the  student.  I  feel  that  singing  is  such 
'spiritual  fun.' 

Personalities  are  always  entering  into  one's  life  as  a 
singer  and  if  one  is  not  awfully  careful  he  can  be  easily 
influenced  by  them.  An  unsympathetic  musical  director 
can  ruin  a  singer  just  as  a  sympathetic  one  can  help  to 
make  a  singer  great.  Tullio  Serafin  at  the  Metropolitan 
has  helped  me  much  with  his  perfect  coaching.  No 
people  on  earth  have  the  traditions  of  the  operas  as  the 
Italians  have  and  to  'pass  a  score'  with  the  stamp  of 
approval  of  a  great  director  like  Serafin  is  to  accomplish 
something  really  worth  while.  Both  "Falstaff"  and  "La 
Cena  Delle  Beffe"  I  studied  with  him  and  attribute  much 
of  my  success  in  these  operas  to  him. 

The  immortal  Toscanini  has  made  many  a  singer  great, 
who  of  themselves  had  little  or  nothing  above  the  ordi- 
nary.   One  of  the  ambitions  of  my  life  is  to  sing  under 
the  direction  of  this  wizard  of  music.    I  deem  it  a  gift 
of  the  gods  that  I  have  become  a 
singer  in  the  days  that  this  ex- 
traordinary  genius   still  wields 
his  baton.   For  such  as  Toscan- 
ini are  born  only  once  or  twice 
in  the  history  of  the  world. 

As  I  have  said  before,  to  your 
teacher  and  to  those  who  are  in 
sympathy  with  your  desire  to 
sing  you  owe  much,  but  if  I  were 
allowed  to  tell  only  one  thing  to 
a  young  singer,  I  would  impress 
this  upon  him — a  defeat  adminis- 
tered early  in  your  life  will  often 
really  make  you.  I  can  quite 
honestly  say  I  owe  more  to  a 
critic  right  here  in  California 
than  to  anyone  I  know  of.  Xot 
many  years  ago  he  said  I  had  no 
possibilities  whatsoever  as  a 
singer — he  still  does  not  like  me, 
but  that  matters  not.  For  that 
thought  that  someone  right  here 
in  my  home  state  thought  I  had 
no  pos-  {Continued  on  page  118) 


23 


SCREENLAND 


J; 


v  4  i 


Mi 


T/ie  oW,  familiar  faces — some  of  them  not  so  old,  at  that!    Members  of  the  one  and 
only  original  cast  of  "The  Birth  of  a  Nation."    Front  row,  left  to  right:  Donald  Crisp, 
Mae  Marsh,  D.  W.  Griffith,  Henry  B.  Walthall,  Mary  Alden,  Ralph  Lewis.   Back  row, 
Joseph  Hennaberry,  Spottiswood  Aiken,  Tom  Wilson,  Walter  Long. 

The  RE-"BlRTH 

of  a  Nation 


55 


T 


By 

Marie  House 


HE  clan  rides  again.  The  gray  coats  and  the 
blue  shout  as  they  charge  on  immemorial  battle- 
fields. The  sins  of  the  carpet  baggers  are  re-com- 
mitted and  Lillian  starts  again  on  her  Gishful 

way. 

It's  the  Re-birth  of  a  Nation ! 
But — it's  the  very  same  che-ild ! 

Oh,  with  a  new  bonnet  and  frill,  perhaps.  Certainly 
with  a  new  coo  and  cry ;  but  it's  the  very  self  same 
che-ild.    A  baby  with  a  $200,000  gurgle ! 

The  same  "Birth  of  a  Nation"  that  we  enjoyed  with 
every  heart-string  sixteen  years  ago — the  very  self-same 
print,  with  every  kind  of  sound  and  music.  No  dialogue, 
mind  you.  Not  a  word  will  be  heard  out  of  Lillian  Gish, 
out  of  The  Little  Colonel.  Not  a  cry  out  of  Mae  Marsh, 
the  Little  Sister.  Not  a  sound  out  of  the  handsome 
octaroon.   But  rebel  yells,  sounds  of  horses  hoofs,  houses 


The  old  master,  D.  W.Griffith, 
superintends  a  revival  of  his 
screen  classic  with  $200,000 
worth  of  Sound! 


burning,  cries  of  mobs,  bugle  calls — every  kind  of  drama 
in  sound  will  be  there,  in  this  re-edited  picture  of  "The 
Birth  of  a  Nation." 

Here's  a  thing  the  talkies  have  done.  $200,000  spent 
for  a  picture  all  of  which  lies  on  the  cutting-room  floor, 
only  the  sound  is  kept !  A  fabulous  sum  spent  and  not 
a  picture  with  it — just  the  sound  was  saved,  the  sound 
that  goes  with  the  old  masterpiece.  No  sacrilege  this, 
so  dry  your  tears.  No  common  brush  strokes  will  ob- 
literate the  masterpiece.  No  botched  restoration  of  a 
Mona  Lisa,  a  La  Primavera.  But  the  original  itself, 
with  new  sounds  attached,  and  the  master  himself, 
D.  W.  Griffith  superintending  it. 

Tragedy  stalked  in  its  making !  Whole  troops  of  cow- 
boys hired  for  a  day's  extra  work  turned  out  in  their 
most  gorgeous  trappings,  and  found  that  their  faces  were 
not  wanted,  only  the  sound  of  their  horses'  hoofs  would 


for    October  1930 


29 


A  true  'Griffith  touch'  — a  tense 
moment  with  Lillian  Gish  and 
the  late  George  Siegmann. 


go  down  to  posterity !  Entire 
buildings  were  erected  and  burnt 
to  the  ground,  but  only  the 
crackling  of  the  flames  will  ever 
be  known  to  movie  audiences ! 
An  entire  picture  of  sound ! 
That's  1930. 

Experts    attended    this  re- 
birth.   No  effort  was  spared. 
We  will  hear  the  cannon  shots, 
almost  feel  the  scorching  of  the 
powder,  so  realistic  will  it  be. 
When  the  gray  coats  charge 
over  the  top,  we  will  hear  the 
fiery  dramatic  rebel  yell — given, 
if  you  must  know,  by  five  very 
old  gentlemen  imported  from 
Atlanta  to  do  this  yelling.  Five 
very  old  veterans  from  the  D.  A. 
R.  home  whose  voices  will  be 
spared  for  years  to  come,  but 
whose  faces  will  never  appear ! 
We  will  hear  the  Klan, 
the  Ku  Kluxers  as  they 
ride,    the    hoofbeats  far 
away,    getting  nearer, 
nearer,  nearer,  until  they 
are  upon  us.    This  was 
made    by   running  the 
horses  in  a  circle  with  the 
microphone  in  the  center. 
We  will  sit  on  the  edges 
of  our  seats  and  shiver 
with     Colonel  Cameron 
and  his  party  as  the  nig- 
gers b-r-r-ea-k-k-k  down 
the    door !     Days  were 
spent  getting  this  sound 
just  right.     Experts  de- 
cided  if   they   took  the 
sound  of  a  door  breaking 
down,  it  would  all  be  over 
in  a  minute,  while  they 
needed   to   preserve  and 

prolong  every  crackle.  So  they  slowed  it  down  as  a 
phonograph  record  is  slowed  down.  And  we  can  pro- 
long our  minutes  of  shivering ! 

It  will  be  remembered  that  "The  Birth  of  a  Nation" 
in  its  original  form  was  the  first  picture  to  be  presented 
with  special  music  and  an  entire  orchestra  was  sent 


Above,  Henry  B.  Walthall  as  the  beloved 
Little  Colonel — a  classic  screen  portrayal. 
And  remember  Mae  Marsh  as  the  sweet 
Little  Sister? 


Below,  a  scene  from  the  new  prologue 
to  the  revival,  with  Griffith  telling  the 
children   how  he  happened   to  make 
"The  Birth  of  a  Nation." 


The    unforgettable    scene  in 
Ford's  Theater  from  Griffith's 
"The  Birth  of  a  Nation." 


around  the  country  with  it, 
and  the  roll  of  drums  and 
the  tooting  of  horns  made  our 
sounds  for  us.  Now  we  shall 
have  on  the  same  sound  track, 
a  musical  accompaniment  to  the 
picture,  an  orchestra  of  100 
pieces  under  the  direction  of 
Louis  Gottschalk,  whose  orches- 
tration helped  make  the  silent 
picture  the  stirring  spectacle  it 
was.  We  will  hear  choirs  of 
voices,  negro  melodies,  national 
anthems,  all  with  the  self-same 
picture ! 

Might  not  the  film  be  just — 
well,  a  little — perhaps  a  trifle, 
— er — faded,  you  may  ask  deli- 
cately? After  all,  sixteen  years 
has  been  responsible  for  many 
a  face-lifting?   You're  entirely 
right !    That's  just  what  will 
happen.  The  original  film 
will    be   put    through  a 
fountain    of    youth  and 
come  out,   snappy,  spar- 
kling, peppy  as  it  was  in 
its  early  days.     If  some 
technical  meanies  inquire, 
it  was  done  by  running 
the    film    through  two 
plates  on  which  were  run- 
ning streams  of  gelatin, 
and  in  this  way  the  orig- 
inal picture  was  restored 
to  youth ! 

Again  we  will  suffer 
with  Little  Sister,  be  ec- 
static with  Lillian,  proud 
with  the  Colonel,  fierce 
and  determined  with  the 
Ku  Kluxers  as  they  ride. 
Sixteen  years  will  be  as 
nothing.  We  will  have 
them  all  back  again  in  this  Re-"Birth  of  a  Nation!" 

We  will  see  again  the  brave  and  brawny  Wallace  Reid 
engage  in  mortal  combat  a  score  of  husky  culled  pussons, 
and  it's  still  a  swell  fight!  We  will  see  the  touching 
scene  with  Joseph  Hennaberry  as  Lincoln  where  he  par- 
dons Th e  Little  Colonel  We   (Continued  on  page  104) 


So  often  stars  of  the  theater  and  the  screen  are  disappointing  when 
encountered  in  the  flesh.  But  if  you  liked  "Sally"  and  "Sunny"  on 
stage  or  screen,  you  are  certain  to  like  Marilyn  Miller  if  you  are  ever 
fortunate  enough  to  meet  her.  For  she  is  "Sally"  and  "Sunny;" 
and  they  are  Marilyn  Miller! 


for    October   193  0 


31 


(4 


ALLY, 

S" 
UNNY, 

and 


MJRIL  YN 

Three  lovely  girls 
— you'll  like  them! 
And  they  are  all 
Marilyn  Miller 

By 

Mitchell  Rawson 

T 


HERE  are  two  classes  of  people  who 
will  give  you  two  different  and  ab- 
solutely opposed  accounts  of  Marilyn 
Miller. 


ones ! 
And 


According  to  one  of  these  classes  of  in- 
formant, the  star  of  "Sally"  is  cool,  indiffer- 
ent, upstage,  high-hat. 

According  to  the  other  class,  she  is  one  of 
the  most  gracious  and  human  and  lovable 
of  young  women,  altogether  natural  and 
charming. 

For  this  divergence  of  experience  there  is 
a  quite  simple  reason.  The  first  class  have 
met  and  dealt  with  Miss  Miller's  secretaries. 
The  second  class  are  acquainted  with 
Marilyn   herself.     And    they    are    the  lucky 

She  always  has  a  secretary;  sometimes  two. 
these  secretaries,  whether  male  or  female,  are  invariably 
so  efficient,  businesslike  and  unsentimental  as  to  strike 
a  chill  to  the  heart — even  over  the  telephone. 

That  is  why  they  are  there.  It  is  simply  a  matter  of 
self -protection  on  the  part  of  a  girl,  who,  though  warm- 
hearted and  generous  to  a  fault,  has  a  level  head  on  her 
shoulders.  Broadwayites  will  tell  you  that  Marilyn 
Miller  has  been  imposed  upon  by  frauds  and  ne'er-do- 
wells  oftener,  probably,  than  any  other  footlight  celebrity. 
Actors,  musicians  and  others  connected  with  show  busi- 
ness, down  on  their  luck  through  their  own  fault  or 
otherwise,  have  long  known  the  facility  with  which  sub- 
stantial aid  could  be  obtained  from  the  most  famous  of 
all  musical  comedy  actresses — if  they  could  only  appeal 
to  her  personally. 

Bitter  experience  at  last  opened  Marilyn's  eyes.  Hence 


She  is  a  girl  of  sharply  alternating  moods.    When  she  is  sad 
she  is  very,  very  sad;  and  when  she  is  gay  she  giggles — there's 
no  other  word  for  it!    Her  first  motion  picture  was  "Sally." 
Her  second  is  "Sunny." 


the  secretaries  of  forbidding  mien  who  stand  guard  at 
her  portals. 

Marilyn  Miller  is  simply  a  girl  who  hates  to  say  "No." 
So  she  has  these  employees  to  say  it  for  her. 

But,  once  past  their  eagle  scrutiny,  one  finds  oneself 
in  the  presence  of  the  genuine  Marilyn  of  stage  and 
screen.  She  is  "Sally;"  she  is  "Sunny;"  she  is 
"Rosalie."  For  there  is  never  any  necessity  of  telling 
her  to  'be  herself.'    She  always  is! 

In  fact,  one  of  the  most  disarming  things  about  Miss 
Miller  is  the  complete  frankness  with  which  she  dis- 
cusses her  own  professional  career. 

"I'm  not  an  emotional  actress,"  she  declares.  "Every- 
body knows  that  and  I  know  it,  too.  First  and  foremost, 
I  am  a  singer  and  dancer  and  a  romantic  comedienne. 
Of  course,  when  we  make  'Sunny,'  at  the  First  National 
Studio,  it  will  have  a  stronger  story  than  it  did  as  a 
musical  comedy,  but  the  story  (Continued  on  page  121) 


32 


SCREENLAND 


Corinne  Griffith  made  a  charming 
picture  as  Lady  Hamilton  in  "The 
Divine  Lady."  But  was  she  cor- 
rectly dressed?    Read  the  story. 


EVE  {ah,  there!)  HELEN  (of  Troy)  DlANE  DE  POITIERS 

FAMOUS 

When  the  scenarios  get  historical, 
Screen  stars  cast  as  sirens  of 


By  Virginia 


W' 


Venus  de  MUo, 
the  Fallen  Star. 
No  longer  are 
her  measure- 
ments the  stan- 
dard of  feminine 
beauty.  Notice 
the  breadth  of 
shoulders  and 
the  thick  torso. 
A  marvelous 
museum  piece 
as  far  as  Holly- 
wood is  con- 
cerned. But  far 
too  Herculean 
to  win  a  beauty 
contest  today. 


"ASP  waists  by  Catherine  de  Medici.  Ruffs 
by  Queen  Elizabeth.  High  waists  by  the 
Duchess  of  York.  Corsets  by  Marie  Anjou." 
These  are  some  of  the  possible  credit  lines 
for  the  new  costume  pictures,  giving  credit  where 
credit  is  due.  These  famous  ladies  of  fashion  made 
some  infamous  styles  and,  incidentally,  a  lot  of  trouble 
for  Hollywood. 

It's  all  because  of  the  vogue  of  the  costume  picture. 
Stars  are  looking  at  their  figures  from  an  entirely  new 
angle.  When  the  scenarios  get  historical,  Hollywood 
gets  hysterical.  Casting  directors  are  going  around 
with  a  tape  measure  and  doing  problems  in  stellar 
length,  breadth  and  thickness.  Their  statistics  read: 
Bessie  Love,  5  feet,  100  pounds;  Sue  Carol,  5  feet, 
2  inches,  107  pounds;  Norma  Talmadge,  5  feet,  2  inches, 
108  pounds;  Clara  Bow,  5  feet,  3  inches,  110  pounds; 
Dolores  Del  Rio,  5  feet,  V/i  inches,  115  pounds;  Nancy 
Carroll,  5  feet,  4  inches,  116  pounds;  Alice  White,  5  feet, 
104  pounds;  Corinne  Griffith,  5  feet,  6  inches,  115 
pounds;  Janet  Gaynor,  5  feet,  98  pounds. 

Not  one  suited  to  be  Marie  Antoinette.  Not  a 
Josephine  for  Napoleon  among  them.  All  too  short 
for  Queen  Elizabeth.  Not  rotund  enough  for  Lady 
Washington.    The  casting  director  must  put  on  his 


for    0 ctober  1930 


33 


JW  1.  f#MYv'' 


Marie  Antoinette    Mme.  Recamier    Lily  Langtry 

FIGURES 

Hollywood  gets  hysterical! 
history  have  their  problems 

Vincent 


Norma  Talmadge  as  Du  Barry  re- 
veals shoulders  and  low  neck  in  the 
style  of  Louis  XV.  A  very  pretty 
picture,    but    is    it  authentic? 


glasses  and  look  further  for  figures  of  a  fourth  dimen- 
sion. 

Physicians  use  the  following  table  of  weights  for 
women  between  20  and  30  years  of  age:  5  feet,  117 
pounds;  5  feet,  1  inch,  119;  5  feet,  2  inches,  121;  5  feet, 
3  inches,  124;  5  feet,  4  inches,  128;  5  feet,  5  inches,  131. 
Hollywood  feels  gross  and  corpulent  by  this  scale  and 
averages  at  least  10  pounds  under  each  weight. 

Anatomically  we  may  be  the  same  through  the  ages, 
but  figure  ideals  have  changed  and,  therefore,  the  figure 
proportion.  At  one  time,  the  Venus  de  Milo  was  the 
standard  of  feminine  beauty.  Notice  the  breadth  of 
shoulders,  her  waist  and  the  thick  torso.  A  marvelous 
museum  piece  as  far  as  Hollywood  is  concerned.  Far 
too  Herculean  to  win  a  Beauty  Contest  today. 

Figures  years  ago  rose  to  fame  by  the  help  of  iron, 
wood,  steel  and  whalebone.  The  importance  of  figures 
in  relation  to  fame  should  not  be  under-rated.  What 
would  have  happened  if  a  certain  Louise  de  Montagnard 
had  not  worn  a  vertugadin  (early  hoopskirt)  narrow  at 
the  waist  yet  so  wide  at  the  hips  and  hem  as  to  hide  her 
cousin,  the  Due  de  Montmorency,  when  his  enemies 
searched  the  house  and  left  no  concealment  possible 
except  through  the  lady's  ingenuity!  Costumes  have 
been  a  fortress  and  refuge. 


Drawings  by 
Quinneth 
Summers 


Here's  the  latest 
famous  figure 
—  the  much 
maligned  but 
nevertheless  all- 
conquer  in  g 
modern  girl. 
According  to 
the  standard  of 
commercial 
measurement 
registered  in 
Washington, 
D.  C,  as  the 
proportions  of 
the  average  fig- 
ure, Miss  1930- 
31,  size  14,  has  a 
bust  of  32,  waist 
of  27,  hips  of  35 
inches. 


34 


SCREENLAND 


Left:  In  the  good 
old  days  when  the 
crowned  heads  set  the 
styles.  Ladies  had  to 
be  locked  into  the 
Catherine  de  Medici 
corset — and  like  it. 
Corsets  were  made  of 
iron,  and  no  matter 
how  large  the  natural 
waist,  it  had  to  be 
compressed  into  the 
span    of   13  inches! 


Right:  Perfect  be- 
havior in  the  days  of 
the  liver  corset!  Mi- 
lady fainted  at  inter- 
vals, while  obliging 
males  rushed  for 
smelling  salts,  and  so 
— sometimes — was  ro- 
mance assisted.  But 
doctors  got  together 
and  denounced  the 
evils  of  tight  lacing 
and  the  liver  corset. 


4 

Is 


Ladies  of  the  Empire  Days  donned  their  muslin 
gowns  wringing  wet  in  order  to  have  them  dry  and  thus 
mold  lines  realistically.  Page,  please,  a  Madame 
Recamier  who  led  the  molded  fashions  so  effectively  in 
Paris  after  the  Revolution  in  gauze  gowns  of  a  shame- 
ful sheerness. 

The  idea  of  omitting  clothes  beneath  tne  dress  in 
order  to  get  a  molded  line  did  not  originate  with  Greta 
Garbo.  Way  back,  in-when-was-it,  the  Empress 
Elizabeth  of  all  the  Russias  had  her  riding  habit  sewn 
together  over  her  bare  skin.  She  was  very  proud  of 
her  horsemanship,  it  seems. 

Then  high  waists.    They  aren't  at  all  new.  A 
Duchess  of  York  started  this  fashion  before  an  heir  to 
the  throne  was  born,  finding  that  a  ribbon  placed 
higher  than  the  normal  waistline 
was  more  becoming  to  her  figure. 
Other  women  in  order  to  resemble 
her  attached  a  small  cushion  or 
pad  to  the  waist  and  wore  a  rib- 
bon at  the  same  height  so  that 
the  proportions  were  every  bit 
as  fashionable  as  the  Duchess's. 

Royalty  could,  of  course, 
change  fashions  at  will.  Take 
the  case  of  the  daughters  of  good 
St.  Louis.  It  seems  that  their 
legs  and  feet  were  peculiarly  "ill- 
shaped,"  which,  modernly  speak- 
ing, means  knock-kneed  or  bow- 
legged.  The  daughters  were 
clever  enough  to  start  the  vogue 
of  long  skirts  and  the  court  had 
to  follow  suit  no  matter  how 
comely  their  calves  or  how  light 
their  ankles.  This  was  a  stroke 
of  genius  for  the  princesses.  Not 
only  did  it  hide  their  ungainly 
legs  with  a  new  fashion,  but  at 
once  took  away  the  contrast  with 
other  legs  more  pleasant  to  the 
eye.  Unfortunately,  a  subterfuge 
of  that  kind  can  not  be  realized 
these  days.  Skirts  are  long  now 
simply  because  they  have  been 
short. 


Joan  Bennett  felt  the  delights  of 
wearing  the  bustle  styles  in  "Dis- 
raeli." Her  costumes  were  authen- 
tically correct  and  very  charming. 


There  are,  of  course,  pictures  that  are  staged  in 
periods  not  so  difficult  to  costume.  Greta  Garbo  in 
"Romance"  wears  the  costume  of  1850  in  a  charming 
fashion.  Few  people  would  have  thought  Greta  could 
so  suitably  slide  into  the  most  mid- Victorian  era.  But 
art  and  especially  the  art  of  this  actress  can  surmount 
the  greatest  obstacles  with  seeming  ease. 

Grace  Moore  makes  her  debut  as  Jenny  Lind  in  the 
picture  of  that  name  and  wears  the  costumes  of  1860. 
Costumes  of  the  later  periods  are  more  easily  adapted 
to  the  modern  figure  than  costumes  of  the  medieval 
times  or  of  the  immediate  succeeding  centuries. 

Costumes  must  be  worn  convincingly.  The  success 
of  the  film  depends  to  a  great  extent  upon  authenticity. 
Doubles  may  be  used  for  hazardous  or  monotonous 
moments  in  Hollywood,  but  no 
star  can  find  a  substitute  for  the 
discomfort  that  she  endures  in  a 
costume  picture.  She  must  suffer, 
if  she  is  playing  the  part  of  the 
de  Medici,  the  agony  of  being 
locked  into  an  iron  corset.  No 
matter  how  large  her  waist  is 
naturally,  it  will  be  compressed 
into  the  span  of  13  inches.  This 
Queen  has  two  uncomfortable 
fashions  to  her  credit,  one,  the 
royal  edict  that  all  waists  should 
measure  no  more  than  13  inches, 
and  the  other,  the  Medici  collar 
which  was  straight  and  high  in 
back,  keeping  the  neck  in  a  vise- 
like position.  She  who  plays 
Catherine  should  consider  the 
costume  carefully.  She  should 
remember  that  the  corsetiere  will 
be  a  blacksmith  and  he  shapes 
metal  that  can  not  be  stretched, 
broken  or  eased  out  in  any  way. 

There  will  not  be  many  who 
care  to  play  the  part  of  Queen 
Elizabeth,  either,  after  they  hear 
the  wardrobe  requirements.  First, 
consider  the  stays,  laced  tight 
and  pointed  in  front,  made  of 
bone    {Continued  on   page  126) 


Mr.  and  Mrs. 

Norman 
Foster 

( Claudette 
Colbert) 


Carriage 


in  HOLLYWOOD 


Duncan 


Mr.   and    Mrs.    HOOT  GlBSON 

(Sally  Eilers) 


Mr.  and  Mrs.  RjCHARD  ARLEN 

(Jobyna  Ralston) 


Richee 


J 


Chidnoff 


Mr.  and  Mrs.  FrEDRIC  MARCH 

(Florence  Eldridge) 


for    October  1930 

Carol  to  Su 


51 

E 


Explaining  every- 
body's enthusiasm 
for  Sue  Carol 


A GOOD  sport !  That's  the 
finest  compliment  you 
can  earn  in  Hollywood. 
Well,  anywhere,  really. 
It's  American.  It's  something 
you  can't  buy.  It's  the  acco- 
lade of  your- associates.  That's 
Sue's  highest  ambition — oh, 
aside  from  doing  bigger  and 
better  things  in  the  movies — 
of  decorating  a  home — of 
earning  enough  money  to  re- 
tire on  in  a  dozen  years, 
perhaps. 

Do  you  know  this  black- 
eyed  Susan  named  Carol? 

Yes,  you  do.  She's  the  girl 
you  watch  flying  by  in  the  yel- 
low sports  roadster.  She's  the 
laughing  young  thing  on  the 
tennis  courts.  She's  the  slim 
brown  mermaid  on  the  beach. 
She's  the  girl  who  lives  on  the 

corner.     She's  the  girl  you've  known  all  your  life. 

Once  upon  a  time  about  twenty-one  years  ago,  all  of 
the  good  fairy  godmothers  attended  the  christening  of 
the  tiny  Evelyn  Lederer,  a  trifle  out  of  breath  because  it 
was  in  Chicago,  to  be  sure,  but  not  a  one  stayed  at  home. 
A  happy  childhood  followed,  full  of  things  children  do. 
A  normal  girlhood  spent  in  a  convent  and  a  fashionable 
private  school.  Then  Hollywood.  Sue  Carol.  A  movie 
contract.  And  Nick.  (Mrs.  Nick  Stuart  is  the  correct 
name,  in  case  you  don't  know.) 

What !  No  struggling  up  from  nothing  ?  No  orphan 
asylum?  No  going  ragged  and  hungry?  Not  just  like 
every  typical  American  girl  except  for  the  movie  con- 
tract, surely.  Tch!  Tch!  Can't  we  have  any  illusions? 
Can  a  movie  actress  be  just  like  the  rest  of  us — only 
some  one  on  whom  fate  has  played  the  spot  ? 

Well,  that's  what  Sue  says. 

"There's  no  reason  for  my  getting  where  I  have,  not 
that  I  am  famous  or  anything,"  Sue  modestly  confesses. 
"It  just  happened.  Sometimes  I'm  as  surprised  as  any- 
one else.  When  I  was  a  child  I  never  dreamed  of  such 
a  thing  as  being  in  the  movies.  I  was  a  great  fan  then 
and  still  am.  I  remember  when  I  was  eight  I  wrote  a 
passionate  letter  to  Charlie  Chaplin.  But  mother  found 
it  and  never  sent  it.  Valentino  was  another  of  my  idols. 
So  was  Ronald  Colman,  and  Norma  Talmadge.  I  was 
just  in  Hollywood  on  a  visit  when  they  asked  me 


By 

Constance 
Carr 


Sue  has  arrived  in  Hollywood,  with 
three  years  and  thirty  pictures  to  her 
credit.  "It  just  happened,"  she  says. 
"Sometimes  when  I  stop  to  think  about 
it  I'm  as  surprised  as  anyone  else!" 


to  take  a  test.  I  thought  they 
were  kidding  me  (they,  being 
Nick,  now  Mr.  Sue,  and  a 
studio  official).  I  remember 
so  well  going  into  the  room 
where  about  fifty  girls  were 
taking  tests  for  stock.  I  didn't 
even  know  what  'stock'  meant, 
I  was  so  dumb.  When  it 
came  my  turn  I  hadn't  the 
slightest  idea  of  what  to  do. 
They  had  to  tell  me.  It  was  a 
terrible  test." 

Oh,  surely,  Sue,  not  so  ter- 
rible !  At  least  it  started  her 
on  the  road  lined  with  fan 
letters  and  electric  lights.  She 
laughingly  tells  you  her  letters 
all  come  from  young  people ; 
children  adore  her. 

Well,  Sue  has  arrived  now, 
with  three  years  and  thirty 
pictures  to  her  credit,  but 
finds  it  amazing  that  she  is 
one  of  the  stars  twinkling  in  the  cinematic  heavens. 
"When  I  was  a  child  I  always  thought  movie  stars  were 
continually  ch/essed  up.  Kept  in  a  velvet  case.  I  couldn't 
imagine  them  wearing  old  clothes.  Now  I  understand 
how  hard  it  is  to  uphold  the  impression  the  public  wants 
you  to  make.  If  you  go  around  in  any  old  thing,  they 
think  you  are  sloppy — or  broke  I" 

Sue  talks  to  you  as  friend  to  friend,  tucking  her  feet 
up  under  her.  She  has  the  most  amazingly  round  dark 
eyes,  tiny  nose  and  most  charming  smile,  as  who  doesn't 
know.  The  friends  who  come  in  to  play  bridge  are  'the 
kids.'  Some  of  the  stars  even  now  have  glamour  for 
her.  She  stares  at  stars  like  Mary  Pickford,  Lawrence 
Tibbett  and  Norma  Talmadge  just  as  she  did  when  she 
was  a  small  girl. 

I  guess  you  are  just  like  the  rest  of  us,  we  decide. 
"Oh,  I  am,"  Sue  is  eager  about  it.  "And  do  you 
know  I'd  rather  be  called  a  good  sport  than  anything 
else!  If  I  could  make  myself  over  I'd  be  what  they 
call  'regular.'  You  know,  the  kind  of  girl  that  can  do 
all  sorts  of  sports  well.  I  try  them  all  but  I'm  not  much 
of  a  champion.  I'd  like  to  be  the  kind  of  girl  that  boys 
would  know  they  could  ask  to  go  on  any  sort  of  im- 
promptu jaunt." 

Well,  isn't  she?  Why,  once  when  she  was  on  location 
in  Arizona  for  "The  Lone  Star  Ranger"  in  which  she 
played  with  George  O'Brien,    (Continued  on  page  109) 


52 


SCREENLAND 


C7ASHION  J\(EWS 


Introducing  ScreenlancTs  Stylist!  Miss 
Manning,  leading  New  York  coutu- 
riere,  talks  about  fall  fashions.  A 
new  department. 

Here  is  Maybelle 
Manning  herself! 
She  is  not  only 
one  of  the  best 
known  style  art- 
ists in  Manhattan, 
but  a  charming 
figure  in  New 
York  smart  life: 
an  indefatigable 
first-nighter  dur- 
ing the  season, 
chatelaine  of  an 
exquisitely  ap- 
pointed town 
house,  and  in 
summer  a  mem- 
ber of  the  smart 
colony  at  East 
Hampton.  Truly 
qualified  to  ad- 
vise the  girls  of 
America  on  their 
clothes  problems! 


Maybelle 
Mann  in  g 
created  this 
gown  with 
moyen-age 
skirtof  black 
chiffon  and 
bodice  in 
delicate 
frostlike 
coat-of-mail 
embroidery. 


The  fall  waistline  is  absolutely 
natural — that  is,  resting  on  the 
hips,  just  at  the  out-curve  below 
the  normal  waist.  Fall  colors  are 
black,  white,  antique  ivory,  garnet 
red.  Many  evening  gowns  will 
show  the  classic  Greek  influence. 


BECAUSE  Screenland  is  America's  smart  cinema 
publication,  numbering  among  its  readers 
thousands  of  moderns  who  demand  to  be 
gowned  on  a  par  with  the  best  that  can  be 
offered,  I  am  inaugurating  in  this  issue  my  Fashion 
News,  which  will  bring  to  you  each  month  the  last 
word  in  current  fashion  trends  as  I  find  them  on  my 
frequent  visits  to  the  style  capital  of  the  world — beau- 
tiful and  gay  Paris. 

This  season,  when  the  leaves  are  turning  gold  and 
the  air  carries  the  potency  of  many  glasses  of  Chateau 
Yquem,  is  a  season  of  romance,  glamour,  subtlety.  It 
takes  our  minds  back  to  the  days  of  gay  cavaliers  and 
their  ladies,  to  drooping  feathers  and  heavy  russet 
satins.  And  this  is  exactly  where  the  danger  lies!  In 
our  desire  to  conquer  the  charm  of  those  romantic 
times,  it  may  be  that  we  become  frumpy,  over -dressed. 
That  is  the  mistake  th?t  was  made  when  we  changed 
from  the  straight  boyish  styles  to  our  present-day  modes. 

To  be  over -dressed  is  the  cardinal  sin  of  the  present 
day.  You  can  easily  see  how  it  is.  When  you  are 
lunching  at  Pierre's  or  at  the  Crillon,  or  dining  at  the 
St.-  Regis  or  the  Central  Park  Casino,  or  at  any  smart 
restaurant  or  hotel  where  the  trend  is  all  towards  the 
simple  grandeur  of  modernistic  decorations,  an  over- 
dressed woman  is  as  much  out  of  place  as  a  fluffy- 
ruffled  telephone  doll  would  be  in  the  Parthenon  at 
Athens. 

Therefore,  before  you  plan  your  autumn  wardrobe, 
remember  first  of  all  that  you  need  ^imagination,  but 
that  this  imagination  must  be  held  in  check,  for  the 
simplest  is  always  the  best.  Never  forget  that!  For 
clothes  which  will  enable  you  to  mix  in  any  metier  of 
society  and  yet  to  feel  as  well  dressed  as  the  best 
dressed  woman  there,  you  must  depend  largely  on  two 
things: 

1.  On  beautiful  materials,  extraordinary  only 
for  their  texture  and  fineness; 

2.  On  having  the  cut  of  your  dress,  suit,  coat  or 


for    October   193  0 


by  Maybelle  Manning 


EDITOR'S  NOTE: 

It  is  a  privilege  to  announce  Miss  Maybelle  Manning  as  Screenlana  s 
style  advisor.  Miss  Manning  will  conduct  a  monthly  department  of 
fashion  forecast  and  advice,  of  which  this  is  the  first  article.  One  of 
America's  foremost  designers — young,  lovely — Miss  Manning  presides 
personally  over  her  modernistic  salon  in  Manhattan,  where  she  creates 
arrestingly  original  styles  for  debutantes,  Broadway  actresses,  and 
screen  stars.   She  herself  is  one  of  America's  best-dressed  women. 


Left,  Miss  Claire 
Luce  wearing  one 
of  the  lovely  new 
evening  gowns  de- 
signed for  the  fall 
season — a  Lucien 
Lelong  creation 
of  dark  brown 
chiffon  trimmed 
with  ermine. 
Jewels,  consisting 
of  necklace  and 
bracelet  of  rubies 
and  diamonds 
and  crystal  and 
diamond  breast- 
pin, are  from 
Ma  ubous  sin , 
Paris.  Not  every 
girl  can  afford 
such  treasures 
but  the  costume 
jewelry  within 
the  reach  of  all 
follows  the 
trend  of  the  pre- 
cious-stone de- 
signs. 


Scaaioni,  Paris 

evening  gown  absolutely  perfect.  A  misplaced 
godet  will  ruin  any  master  designer's  dream. 

About  the  greatest  need  in  early  fall  is  the  demand 
for  a  suit,  or  one,  two,  or  three  suits.  Now  the  simple 
little  tweed  coat  and  skirt  of  the  past  summer  will  not 
answer.  Something  more  intricate,  more  of  the  great 
world,  is  necessary.  Besides,  tweed  is  quietly  on  the 
wane,  and  cheviot  and  other  such  materials  are  taking 
its  place. 

A  suit  of  three  pieces  which  I  designed  is  particularly 
appealing  for  the  first  brisk  days.  The  coat  is  a  box 
affair  of  orange  cheviot.  The  dress  is — can  you  imagine 
it — of  brocade! 

No,  no,  no — not  the  stiff  old  brocade  of  our  grand- 
mother's day.  Don't  you  know  there  has  been  a  tre- 
mendous textile  revolution  these  last  few  months? 
The  big  textile  men  have  been  patiently  studying  the 
old  costumes  in  museums  all  spring  and  summer,  and 
experimenting  until  now  they  can  manufacture  a  bro- 
cade, marvelous  in  color  and  texture,  but  as  sheer  as 
sheer  satin.  And  it  is  this  brocade  which  is  positively 
the  last  word  in  place  of  the  foulards  which  we  used  in 
the  spring. 

The  dress,  of  flame-color  shading  to  brown  figured 
brocade,  is  distinguished  by  a  Bateau  neck.  That  is, 
a  band,  two  inches  in  width,  runs  around  the  neck  with 
incrustations  of  box  pleats  pointing  into  it.  Every 
other  pleat  is  cut  out,  showing  the  skin  underneath, 
thus  giving  a  pleasing  and  original  effect. 

Perhaps  you  will  be  interested  (Continued  on  page  120) 


"Casino," 
a  Lanvin 
dinner  frock 
of  soot-black 
crepe.  The 
intricate 
chou  on  the 
shoulder  is 
made  of 
minute 
hand-turned 
cords. 


In  modeling  your  clothes  after  the 
screen  stars,  you  are  safe  in  follow- 
ing Lilyan  Tashman,  Kay  Francis, 
Constance  Bennett,  Gloria  Swan- 
son,  Ina  Claire,  Mary  Pickford, 
Evelyn  Brent,  Ruth  Chatterton, 
Bebe  Daniels,  and   Claire  Luce. 


54 


SCREENLAND 


Ruth  Roland  plays  on 
one  of  the  one  hun- 
dred and  forty-five 
miniature  golf  courses 
that  have  sprung  up 
in  and  around  Los 
Angeles.  The  vogue  of 
Mah  Jong  and  the 
cross-word  puzzle  was 
mild  compared  to  this 
new  craze  that  has 
swept  Hollywood,  and 
the  whole  country  like 
a  forest  fire!  It's  a 
game  that  can  be 
played  in  dear  old 
California  all  the  year 
'round. 


Wb/fywood  goes 


NEVER,  since  Mah  Jong  and 
the  cross  word  puzzle  swept 
our  enthusiastic  land,  has 
anything  excited  us  like  this 
miniature  golf  craze.  It  has  captured  the  whole  country 
and  swept  Hollywood  like  a  forest  fire.  Whether  you 
call  it  Tom  Thumb,  Sportee,  Pee  Wee  or  what  have  you, 
it  is  all  the  same — the  Pied  Piper  of  Hollywood  that  lures 
children  young  and  old  through  the  magic  of  bright  lights 
and  promise  of  good  fun.  From  banker  to  bricklayer, 
from  studio  executive  to  office  boy,  from  star  to  extra — 
if  you  want  to  find  any  of  them  look  on  the  golf  course 
first.    It  might  save  you  a  lot  of  time. 

The  film  colony  has  taken  to  this  novel  sport  like 
ducks  to  water.  A  few  months  ago  there  wasn't  one 
in  the  city.  Not  even  on  the  Pacific  coast,  I  was  told. 
The  first  I  saw  was  the  Sportee,  on  Sunset  Boulevard 
at  La  Brea.  It  had  been  a  vacant  lot  which  I  passed 
every  day.  One  night,  last  December,  I  saw  that  the  va- 
cant lot  had  blossomed.  There  were  lights  and  cute  little 
rocks  and  runways  and  hills  and  valleys  and  people 
chasing  little  golf  balls  all  over  them  with  clubs.  It  had 
sprung  up,  it  seemed  to  me,  overnight.  And  that  is  so 
typical  of  things  as  they  are  done  in  California  that  I 
laughed  all  the  way  home.  "What  next!"  I  thought. 
As  a  matter  of  fact,  it  takes  three  weeks  to  lay  out  a 
course — I  just  had  not  noticed  what  was  going  on  in  the 
daytime. 

For  a  month  or  two  there  didn't  seem  to  be  an  ab- 
normal interest  in  them,  then  suddenly  the  dam  burst 
and  they  went  up  like  mushrooms  all  over.  It  was 
reported  to  me  by  two  people  who  are  interested  in  the 


The  miniature  golf  craze  has  swept  the 
in  Hollywood  that  some  people  think  it's 
picture  industry.   Anyway,  the 


business  that  there  were  about  six  hundred  in  the  city 
and  fifteen  hundred  under  construction  in  and  around 


Los  Angeles. 


That  seems  to  be  an  exaggeration, 


how- 


ever, when  compared  with  the  city  hall  records  which 
include  one  hundred  and  forty-five !  And  this  is  only 
one  city.   They  are  springing  up  all  over. 

Golf  has  taken  precedence  over  every  other  theme 
of  conversation  at  parties. 

"Can  you  make  the  eighteenth  hole  in  forty-five? 
You  can't?  You  make  it  in  less?  Well,  I'm  willing  to 
be  shown."  And  that's  good  for  two  hours.  No  use 
interrupting — they  wouldn't  hear  you. 

"Sure,  this  thing  is  here  to  stay!"  declared  Robert 
Woolsey,  impressively.  "Why  not?  It's  good  healthy 
fun  and  just  the  thing  to  relax  one  before  going  to  bed. 
I  don't  say  all  the  little  ones  will  hold  out,  the  ones  that 
are  like  ABC  and  made  of  poor  felt — you  have  to  give 
people  something.  The  good  ones  that  have  difficult 
hazards  and  something  to  whet  the  appetite  of  a  sporting- 
nature  will  become  more  and  more  popular,  I  think." 

Just  then  Bert  Wheeler,  Bob's  partner  in  comedy, 
wilted  into  a  chair,  unhitched  his  prop  collar  and  vest 
and  twisted  it  to  one  side  to  give  himself  air.  "Say, 
Bob,  wouldn't  a  niblick  and  a  mashie  shot  burn  them 
up  on  one  of  those  courses  ?  Gee !  What  fun  to  think 
up  new  problems." 

"I'm  buying  a  half  interest  in  one  of  them  with  my 
brother-in-law,"  Bob  continued.    "We're  going  to  put 


for   October   193  0 


55 


Dorothy  Lee,  Arthur 
Lake,  and  comedian 
Ned  Sparks  have  a  gay 
old  time  in  their  noon 
hour  from  the  RKO 
Studio,  having  de- 
cided long  since  that 
a  round  or  so  of  mini- 
ature golf  was  more 
important  than  lunch. 
The  Hollywood  play- 
ers declare  that,  far 
from  interfering  with 
their  jobs,  the  game 
is  good  healthy  fun 
that  peps  them  up  for 
more  work! 


GOLF-CRAZY! 


country.  It's  so  popular 
a  menace  to  the  motion 
stars  love  it.  Fore! 


By 


Helen  Ludlam 


Irene  Delroy,  Warner  Brothers  star,  is  another  enthu- 
siast.   The  musical  comedy  star  from  Manhattan  is  in 
love  with  the  outdoor  life  of  Hollywood  and  Hollywood 
is  very  much  in  love  with  Irene. 


in  a  good  one,  about  an 
eight  thousand  dollar  job,  and 
have  all  the  latest  gadgets. 
We  are  looking  around  for 
a  good  location  now.  That's  very  important,"  he  said, 
with  the  seriousness  of  an  owl.  And  then  he  asked 
about  climatic  conditions  during  the  California  winters 
and  whether  it  rained  long  enough  to  make  an  outdoor 
game  impracticable  as  an  investment.  Bob  wasn't  a 
Calif ornian  until  he  came  out  here,  but  he  is  now! 

Irene  Delroy,  Claudia  Dell,  Leslie  Howard,  Doug 
Fairbanks,  Jr.,  and  other  Warner  Brothers  players,  in- 
cluding workers  in  every  department  of  the  business, 
rush  out  at  the  lunch  hour  to  see  if  they  can  'get  around.' 
Sometimes  it  means  no  lunch  but  "it  sort  of  peps  us  up 
after  so  many  hours  on  the  stages.  We  feel  we  do 
better  work,  and  can  always  send  for  a  sandwich  and 
orange  juice,"  one  of  the  girls  told  me. 

Every  studio  seems  to  have  its  golf  course.  Not 
operated  by  the  studio  but  built  by  some  bright  boy 
who  figured  trade  would  be  good  there.  There  are  two 
across  from  Metro.  It  used  to  be  when  a  person  was 
being  paged  the  order  would  be  issued,  "Look  for  them 
in  the  commissary."  Xow  it  reads,  "Look  for  them  in 
the  commissary  and  on  the  golf  course." 

"It  just  seems  to  round  the  evening  off  right,"  said 
little  Dorothy  Lee.  "You  never  feel  like  going  to  bed 
right  away  after  you've  been  to  a  show  or  even  if  you 
have  been  working  until  eleven  or  twelve.  You  feel  as 
though  you  wanted  a  breath  of  air.  There  used  to  be 
nothing  else  to  do  but  take  a  drive  or  go  to  a  restaurant. 
Now  we  go  to  the  golf  course    (Continued  on  page  124) 


56 


SCREENLAND 


HOW  about  the 

AUTHORS? 


The  screen  audience  knows  Rex  Beach 
from  Coney  Island,  but  does  it  care 
whether  Shaw  and  other  great  dramatists 
transfer  their  plays  to  the  screen?  Read 
what  a  scenario  expert  has  to  say  about  it 


By 

Gray 
Strider 


WITH  the  possible  exception  of  gloomy  'Gene 
O'Neill,  certainly  George  Bernard  Shaw  is 
the  most  talked  about  dramatist  of  the 
present  day,  and  the  one  whose  work  is 
awaited  most  expectantly  by  talkie  audiences.  "A 
very  wise  trader  he  is,"  too,  according  to  Mr.  Jacob 
Wilk,  the  magnetic  and  astute  scenario  boss  of  Warner 
Brothers,  who  has  recently  returned  from  a  trip  to 
London  where  he  interviewed  the  great  Irishman. 

When  I  asked  Mr.  Wilk  to  tell  me  about  his  dealings 
with  some  of  the  great  authors  of  the  world,  he  an- 
swered: "Most  moving  picture  fans  don't  know  Rex 
Beach  from  Coney  Island!  The  general  public  as  a 
whole  are  not  very  much  interested  in  the  machinery  of 
making  pictures.  All  they  care  about  is  the  finished  art." 

I  couldn't  agree  with  Mr.  Wilk  there,  so  I  said:  "I  can't 
imagine  anything  more  amusing,  Mr.  Wilk,  than  to  see 
Shaw's  'Caesar  and  Cleopatra' 
made  into  a  talkie.  Do 
you  think  he  will  sell  the 
rights?  And,  by  the  way, 
what  does  Mr.  Shaw  think  of 
the  talkies,  anyway?" 

This  man  whose  tremendous 
job  it  is  to  sift  all  the  contem- 
porary stories,  novels,  and  plays 
in  the  world  for  possible  screen 
material,  looked  me  sternly  in 
the  eye:  "Understand  me, 
young  lady,"  he  said,  "I  hap- 
pened to  be  in  London  recently 
and  Mr.  Shaw  was  kind  enough 
to  give  me  a  personal  inter- 
view. We  discussed  various 
matters.  But  I  am  not  free  to 
tell  you  about  them.  Shaw 
talked  to  me  in  confidence  and 
I  respect  it.  I  do  not  go  to 
see  a  man  who  is  a  great  world 
figure  and  then  trade  on  his 
greatness,  for  publicity  pur- 
poses." 

"Well,  then,"  I  answered 
meekly,  "talk  to  me  a  little, 
please,  about  conditions  gen- 
erally in  your  department." 

"That  I  can  do,"  he  said 


Jacob  Wilk,  scenario  chief  for  Warner 
Brothers,  discusses  the  problems  con- 
fronting picture  producers  in  giving  the 
public  what  it  wants 


agreeably.  Then  measuring  each  word  most  carefully, 
he  began:  "With  the  exception  of  Shaw,  there  isn't  a 
single  author  in  Europe  who  does  not  look  forward  to 
talking  pictures  as  an  output  for  his  work.  Even  Mr. 
Shaw  is  perfectly  willing  to  sell  his  plays  to  the  screen 
producers  but  he  will  not  do  so  unless  the  producer  who 
buys  them  will  agree  to  let  him  have  the  final  O.  K.  on 
everything. 

"Although  right  now  it  is  impossible  for  Warner 
Brothers  to  do  that,  I  can  quite  understand  Mr.  Shaw's 
viewpoint.  It  is  this  way.  A  person  may  have  the 
best  flour,  eggs,  milk  and  sugar — -all  the  finest  ingre- 
dients— -and  send  them  to  a  bakery.  But  he  cannot  be 
sure  that  the  finished  product — -the  bread  or  the  cake — ■ 
will  be  of  the  highest  grade.  It  all  depends  upon  the 
mixing  and  baking.  And  George  Bernard  Shaw 
intends   to   stand   by   while  his  dramatic  pies  are 

being  made  to  be  sure  that 
nobody  lets  a  fly  drop  in  the 
seasoning. 

"You  can  understand," 
Mr.  Wilk  continued,  "why 
Warner  Brothers  can't  give 
Mr.  Shaw  this  O.  K.  even 
though  it  would  be  a  magnifi- 
cent screen  experiment.  For 
Warners  are  past  the  experi- 
mental stage.  If  we  were  stage 
producers  it  would  be  different. 
A  stage  producer  can  get  to- 
gether eight  actors  or  so,  a  few 
back  drops,  a  couple  of  chairs 
and  a  table  and  try  out  a  play. 
If  it  doesn't  go  over,  the  most 
the  producer  will  drop  will  be 
in  the  nature  of  a  few  thousand 
dollars.  But  when  a  movie  pro- 
ducer starts  experimenting  on 
Mr.  Shaw's  code — well,  it's  as 
costly  as  washing  a  herd  of  ele- 
phants with  attar  of  roses.  It's 
just  not  sensible  at  this  stage 
of  the  game,  for  it  will  cost  any 
film  producer  at  least  two  hun- 
dred and  fifty  thousand  dollars 
for  a  respectable  production — • 
a  production  worthy  of  Shaw's 


for    October  1930 


.57 


started  harp- 
'Caesar  and 
think  people 


genius.     And  nobody  knows  how  the  public 
will  receive  it! 

"I,  myself,  have  the  highest  regard  for  Mr. 
Shaw's  directorial  and  production  abilities. 
He  and  Franz  Molnar,  of  Hungary,  not  only 
write  but  produce  and  direct  their  own  plays. 
Shaw  is  a  superb  director.  He  has  that 
rare  ability,  not  only  to  know  what  an  actor 
should  do,  but  he  knows  how  to  tell  the 
actor  how  to  do  it." 

"But  wouldn't  it  be  fine,"  I 
ing  again,  "if  we  could  have 
Cleopatra'  on  the  screen?  I 
would  eat  it  up." 

"I  am  not  sure  about  that,"  Wilk  replied, 
guardedly.  "  It's  unbelievable  the  way  people 
react  to  pictures.  Most  of  them  wouldn't 
give  a  cent  for  the  fact  that  George  Bernard 
Shaw  was  the  author  of  a  talker  unless  they 
liked  the  finished  product.  And  how  to  tell 
what  they  will  like! 

"We  may  see  a  picture  in  the  projection 
room  and  think  it  is  the  last  word.  The 
public  does  not  care  for  it.  And  what  we 
think  tripe  at  a  pre-sh owing,  may  turn  out  to 
be  a  winner.  It  is  not  possible  to  gauge  what 
the  public  reaction  will  be  in  Keokuk,  Iowa, 
or  Palmer,  Mississippi.  It  is  the  most  dif- 
ficult and  exhausting  of  jobs." 

"Has  Shaw  any  antipathy  towards  talk- 
ing pictures?"  I  asked  Mr.  Wilk. 

"Quite  the  contrary.  He  is  much  inter- 
ested in  them.  When  I  interviewed  him  at 
his  London  Apartment  in  Whitehall  Court 
which  faces  the  Thames  near  Westminster 
Abbey,  Shaw  said:  'I  think  talking  pictures 
are  closer  to  the  theater  than  any  films  have 
ever  been  before.' 

"Another  reason  for  Shaw's  friendliness 
towards  the  screen  as  it  now  is  is  because 
of  the  fact  that  George  Arliss  is  one  of  his 
closest  friends.  He  admired  Arliss  very  much 
in  his  picture,  'Disraeli,'  and  at  present  Arliss 
is  trying  to  persuade  the  great  dramatist  to 
write  a  play  for  him,  taking  the  life  of  Vol- 
taire as  the  hero.  In  this  connection,  I  have 
recently  sent  Shaw  a  working  manuscript  of 
our  version  (the  film  version)  of  'Disraeli' 
to  let  him  read  it  and  see  how  the  picture 
script  varies  from  the  play.  I  look  forward 
with  much  interest  to  his  reaction. 

"Shaw  is  more  active  mentally,"  Mr.  Wilk 
went  on,  "than  most  people  of  thirty.  And 
his  figure  is  one  that  any  woman  would  envy 
— so  slight  and  graceful.  Perhaps  this  may 
be  due  to  the  fact  that  he  is  a  vegetarian. 
He  knows  a  great  deal  about  the  business  end  of  making 
pictures  as  I  could  judge  from  the  canny  observations  he 
made.  He  is  not  concerned  with  art  or  literature;  he  is 
directly  concerned  with  wha  t  people  want  to  read  about. 
He  is  a  very  wise  merchandiser.  So  much  so  that  I  person- 
ally should  not  hesitate  at  all  to  have  him  manage  my 
affairs.  And  with  al!  his  shrewdness,  I  know  of  nobody 
who  is  actually  getting  so  much  out  of  life  as  this  man 
who  is  swayed  by  no  opinion  but  his  own.  Pie  has  more  en- 
joymentat  sixty -odd  than  mostof  us  ever  have  at  twenty. 

"When  I  went  to  visit  him,  I  had  no  hope  of  making 
a  business  deal.  I  have  no  hope  now.'  And  even  if  we 
should  acquire  those  rights,  nobody  could  tell  what  the 
outcome  would  be  from  the  general  public — where  the 
final  verdict  of  success  or  failure  always  lies.  But  this 
much  I  do  know — if  we  should  buy  one  or  more  of  these 
internationally  loved  works,  they  would  be  given  cast, 


Shaw— outstanding  playwright  of  his  time,  is  perfectly  will- 
ing to  sell  his  plays  to  the  screen  producers  but  he  will  not 
do  so  unless  the  producer  who  buys  them  will  agree  to  let 
him  have  the  final  O.K.  on  everything! 


settings,  direction — -everything  humanly  possible  to 
make  the  finished  product  equal  the  master  ingredients 
which  were  poured  in." 

It  is  rather  funny  to  me  when  I  think  of  these  two 
great  Gods  of  Modern  Amusement — -Shaw,  chuckling 
on  his  Shavian  heights  at  one  side  of  the  world,  and 
Mr.  Movie  Producer,  sitting  in  his  California  fortress 
on  the  other  side  of  the  globe,  arguing,  dickering, 
checking  and  counter-checking  each  other  on  the 
important  point  of  whether  George  Bernard  Shaw 
shall  have  the  final  say  on  the  film  production  of  his 
own  works.  However,  I  feel  pretty  sure  if  enough 
bank  notes  float  over  the  waves  from  west  to  east, 
pages  of  manuscript  will  begin  to  float  over  the  big 
pool  from  east  to  west.  And  that  pretty  soon  we  shall 
see  and  hear  Cleopatra,  the  It  Girl  of  the  Nile,  laughing 
and  loving  on  our  own  talking  screen ! 


58 


SCREENLAND 


Benjamin  De  Casseres  is 
one  of  the  most  eminent 
authors  in  America.  His 
criticisms,  delivered  in 
pun  gent  style ,  are 
featured  in  some  of  our 
best  magazines  —  ahem! 
He  is  frank  and  fearless — 
especially  when  he  an- 
nounces in  a  screen  maga- 
zine, as  he  does  here,  that 
he  has  no  use  for  Holly- 
wood. You  may  not  agree 
with  him  but  you  won't 
want  to  miss  the  fun! 


SPENCE 


Here's  Hollywood—an  airplane  view  of  Cinema 
City,  looking  north  from  Paramount  Studio—the 
long  low  buildings  in  lower  center.  The  RKO,  Co- 
lumbia, Warner  Brothers,  and  First  National  Studios 
are  also  in  this  picture. 

Why  I  Don't 


Li  keHolly  wood 


A  mold 
Genthe 


Our  erudite  author  tells 
just  why  he  wouldn't 
'go  Hollywood' 


i 


WILL  never  go  to  Hollywood,"  I  said  to  my 
wife.    "You  will  never  live  to  see  me  out  there! 
I  do  not  care  who  invites  me,  how  fat  the  offer 
is  and  whether  they  transport  me  on  a  special 
train  with  an  observation  car,  a  Roman  swimming  pool 
and  the  whole  Philharmonic  Orchestra.    I  will  not  leave 
New  York — and  that's  that!" 

But  what  a  poor  boob  is  man !  He  yowls,  he  snorts, 
he  bawls  that  he  will  not  do  this  or  that  while  old  John 
Q.  Destiny  is  fixing  up  in  his  back  room  behind  the 
stars  somewhere  just  what  Poor  Boob  will  do  or  will 
not  do. 

And,  literally,  I  was  fighting  Destiny,  or  Fate,  when 
I  announced  that  Hollywood  would  never  see  me.  For 
just  one  year  before  I  went  there  a  friend  of  mine  who 
lives  in  Michigan  and  who  is  the  only  real  prophet  and 
seer  I  have  ever  met  wrote  to  me : 

"Next  January  I  will  meet  you  under  the  California 
palms,  Benjamin." 

This  made  me  uneasy,  for  this  man  had  never  failed 
in  bis  prophecies  as  to  me  in  the  four  years  that  I  had 
known  him.  And  I  had  never  seen  him  and  had  never 
been  further  West  than  the  Palisades. 


By 

Benjamin  De  Casseres 

The  year  wheezed  along  uneventfully  until  October. 

"Ya-ha!"  I  yelped  with  delight.  "This  time  Ike  the 
Psych  is  going  to  flop !  Hoop-la !  I  shall  die  without 
seeing  Hollywood  !  Shout  abracadabra ! — -I  will  never  go 
to  the  place  where  Hooey  is  King  and  Blah  is  Queen 
and  dine  in  the  Montmartre  with  their  little  Crown 
Prince,  Itsa  Wow." 

But  the  engines  of  slaughter  were  at  work  on  both 
fronts — psychical  and  physical.  It  had  been  written  in 
the  first  atom — in  fact,  in  Papa  Atom  and  in  Mamma 
Molecule — that  I  had  to  go  to  Hollywood. 

In  the  early  part  of  October  I  received  a  'phone  mes- 
sage to  come  to  see  a  man  of  whom  I  had  never  heard — 
a  treasurer  and  multi-in-law  to  a  famous  and  almost 
first-class  picture  concern.  I  went  to  his  office  and  was 
shown  a  telegram  signed  by  the  Hollywood  general 
manager  of  the  concern's  studio,  a  man  whom  I  had 
"seen  but  twice,  and  then  only  socially.  The  substance 
of  the  telegram  was  to  tie  me  up  in  a  six  months'  con- 
tract at  a  certain  sum  and  shoot  me  West  right  away. 

"Nothing  doing!"  I  said  to  the  treasurer.  "I  will 
never  go  to  Hollywood — I  hate  the  very  word!" 

He  looked  over  his  glasses    {Continued  on  page  119) 


for    October  1930 


59 


The  charming  lady  in  the 
oval,  below,  is  Bio — Mrs. 
Benjamin — De  Casseres. 
She  disagrees  with  her  dis- 
tinguished husband  on 
this  Hollywood  question 
and  puts  up  a  good  fight. 
Far  be  it  from  us  to  inter- 
fere in  a  nice,  private 
family  quarrel,  but  we 
can't  help  taking  sides; 
and  we  think  that  in  this 
case  Mrs.  De  Casseres  pre- 
sents convincing  argu- 
ments for  her  case  and — 
but  perhaps  it  would  be 
better  to  let  you  readers 
be  the  judges! 


By 

Bio  De  Casseres 


NOW  ,  this  is  the  question  pitched  at  you  should 
you  ever  casually  make  the  remark  that  you  had 
just  returned  from  southern  California: 

"Do  you  like  Hollywood  better  than  you  do 
New  York?" 

To  me  this  is  like  asking,  "Do  you  like  sauerkraut 
better  than  you  do  sponge  cake?" 

There  is  no  likeness  between  Hollywood  and  New 
York.  Instead,  there  is  a  very  deep,  fundamental  un- 
likeness.  New  York  is  masculine.  Hollywood  is  fem- 
inine. New  York  is  like  a  raging  bull  that  will  gore  you 
to  death  if  you  are  not  a  trained  bull-thrower.  Holly- 
wood is  a  contented  cow  using  her  seven  stomachs  to 
much  avail  in  digesting  and  re-digesting  all  the  literary 
fodder  that  comes  its  way.  New  York  has  its  Chrysler 
Tower.  Hollywood  has  the  Hollywood  Bowl.  New 
York  is  a  super-boss.  Hollywood  is  the  great  mother, 
nurturing  this  newest  of  the  arts — Motion  Pictures — 
happily,  watchfully,  like  a  mother  holds  a  babe  to  the 
breast. 

There  have  been  quite  a  few  caterwaulings  lately  pan- 
ning Hollywood,  and  all  of  these  have  been  written  by 
New  Yorkers.    I  smile  as  I  read  them,  for  I  read  be- 


And  here's  Hollywood  by  night — the  first  night  of  anew  motion  pic- 
ture, which  happens  to  be  "Hell's  Angels"  at  Grauman's  Chinese 
Theater.  The  crowds  are  waiting  for  their  favorite  stars  to  arrive. 

Why  I  Like 
Hollywood 

His  wife  doesn't  agree 
with  him — and  p;ives 


good  reasons! 


tween  the  lines  and  see  the  age-old  cat-and-dog  row 
on  the  back  lots. 

In  regard  to  Hollywood,  every  sock  is  a  love-tap. 

I  do  not  belong  to  the  goggle-eyed  group  that  have  a 
stop-over  in  Hollywood  for  a  few  days  and  spend  all 
that  time  hunting  out  the  motion  picture  stars.  Nor  do 
I  belong  to  the  exclusives  who  commute  from  New  York 
to  Hollywood  and  count  every  moment  lost  that  they 
spend  beyond  the  Grand  Canyon.  . 

Off  and  on  for  many  years  I  have  lived  there.  I  have 
had  a  charming  bungalow  with  window  boxes  for 
mignonette  and  pansies  and  nasturtiums.  I  have  had  a 
princely  poinsettia  flagrantly  proclaiming  itself  near  the 
corner  of  the  house.  I  have  had  my  porch  completely 
covered  with  a  honeysuckle  vine,  and  while  breathing  its 
distilled  fragrance  caught  the  zither-like  music  of  a  hum- 
ming bird.  I  have  planted  a  seed  at  night  and  watched 
it  come  up  in  the  morning.  I  have  had  two  big-eyed, 
downy  rabbits,  and  in  six  months  I  had  run  out  of 
names  for  all  the  little  rabbits  that  were  poured  out  of 
the  Big  Hat  of  the  universe. 

These  things  are  symbolic  of  Hollywood :  Beauty, 
growth  and  plenty.    Besides,    (Continued  on  page  117) 


SCREENLAND 


Alice  White's 


Alice  White  with  the  second  prize  mesh  bag.    It  is 
carried  out  in  orchid  shades  with  orchid  satin  lining, 
and  contains  a  hand  mirror.    Very  pretty. 


"Sweet  Mama" 
displaying  the 
first  prize 
enameled  cos- 
tume bag.  It  is 
of  pastel  coloring 
with  rose  pre- 
dominating. It's 
yours  if  you  write 
the  best  letter 
answering  Miss 
White's  question. 


Two  beautiful  bags — first  and  second  prize  in  Alice's 
gift  contest !  Write  the  best  letters  and  win  the  bags. 
The  more  expensive  bag  will  be  sent  to  the  writer  of  the 
best  letter.  The  other  bag — really  as  lovely  in  every 
way,  though  not  quite  so  elaborate — will  go  to  the  writer 
of  the  next  best  letter.  Consider  Alice's  question. 
Sharpen  your  wits,  fill  your  fountain  pens,  gather  'round, 
get  busy ! 

The  question :  would  you  rather  see  Alice  White  as 
a  song-and-dance  girl,  as  she  was  in  "Show  Girl  in 
Hollywood"  and  "Sweet  Mama,"  two  of  her  First  Na- 
tional successes ;  or  in  more  dramatic  roles  such  as  she 
plays  in  "Naughty  Flirt"  and  "The  Widow  from  Chi- 
cago?" Alice  can  play  whoopee  girls  or  demure  young 
things  or  serious  roles  with  equal  success ;  but  she  is 
interested  in  your  reaction  to  her  interpretations  of  these 


ADDRESS:— ALICE  WHITE 
SCREENLAND  CONTEST  DEPARTMENT 
45  West  45th  Street 
New  York  City 
Contest  closes  October  10,  1930 


for    October  1930 

Gift  Offering 


Ultra-modern  Alice  White  and  the  latest  innovation 
in  mesh  bags  which  she  offers  to  you  for  your  sincere 
advice.    Beauty  and  the  bag! 


varied  roles  and  wants  your  advice  and  suggestions. 
Make  up  your  mind  and  then  write  your  letter.  The 
two  best  letters  win  the  prizes.  By  best  letter  is  meant 
the  sincerest  and  clearest. 

The  bags — you'll  want  to  know  all  about  them.  It's 
difficult  to  describe  them  because  of  their  beautiful 
pastel  colors.  They  are  Whiting  and  Davis  Costume 
Bags.  The  most  expensive  and  lovely  is  the  first  prize 
winner;  the  second,  scarcely  less  beautiful.  The  first 
prize  winner  is  developed  in  rose  color,  with  rose 
enamel  frame  and  a  beautiful  flower  design  in  rose, 
beige,  and  blue,  with  beautiful  fringe  of  the  same 
coloring.  The  second  prize  mesh  bag  is  carried  out 
in  orchid  shades  with  a  gold-plated  (burnished)  frame 
with  a  Roman  ornamental  design.  The  background 
is  gray  with  violet  flowered  design  and  green  leaves 
and  has  an  orchid  satin  lining.  Both  bags  are  equipped 
with  little  mirrors.  The  last  word  in  modern  mesh 
bags.    From  Alice  White  to  you ! 


Fairy  Godmother 
Alice  White  presents 
her  public  with  two 
Costume  Bags  for 
the  two  best  letters 
answering  her  ques- 
tion. Get  busy!  This 
is  your  contest 


Attractive  girl — attractive   bag.    Another  view  of 
the  second  prize  costume  bag  and  another  view  of 
Alice  White.   What  could  be  more  inspiring? 


62 


SCREENLAND 


Long  Lance, 

Chief  of 
H  eart- Breakers 


The  Indian  hero  of  "The 
Silent  Enemy"  looks  like  a 
new  outdoor  idol.  He's  a 
social  lion  in  Manhattan. 
Read  about  him! 

By 

Rosa  Reilly 


BACK  in  the  early  sixteen  hundreds,  the  Dutch 
bought  the  Island  of  Manhattan  from  the  Indians 
for  a  peck  of  beads,  six  hatchets,  and  a  handful 
of  wampum.    History  speaks  of  it  as  the  "Dutch 
Settlement"  of  Manhattan.   They  settled  for  about  $15.32 
cash — and  Lo,  the  Poor  Indian,  never  had  a  chance. 

To-day,  Manhattan  is  flinging  its  jewels,  its  ermine, 
and  its  latchkeys  at  the  feet  of  a  Chief  of  the  Blood 
Indians.  Step  up  and  say  "How"  to  the  new  screen 
idol,  the  new  red-skinned  Romeo  who  is  paying  back  the 
Dutch  for  the  shabby  trick  they  played  on  his  copper- 
colored  ancestors.  Meet  Long  Lance,  one  of  the  last  of 
the  Vanishing  Americans,  who  appeared  before  the  movie 
public  for  the  first  time  when  he  played  the  leading  role 
in  "The  Silent  Enemy,"  the  distinguished  film  made  by 
the  young  millionaire 
sportsman,  William 
Douglas  Burden,  of 
New  York. 

Ever  since  the  pic- 
ture was  released, 
Long  Lance,  one  of 
the  few  real  one  hun- 
dred per  cent  Ameri- 
cans, has  had  New 
York  right  in  his 
pocket.  Everybody 
likes  him — women  and 
men  alike — and  that's 
no  mean  feat  for  a 
movie  hero.  His  tele- 
phone at  the  Explor- 
ers' Club  never  stops 
ringing.  If  he's  not 
lunching  with  Fannie 
Hurst,  he's  motoring 


In  "The  Silent  Enemy,"  the  authentic  and  entertaining 
record  of  the  life  of  the  north  Canadian  Indians  produced 
by  W.  D.  Burden,  Long  Lance  has  the  leading  role —  his  first 
appearance  before  the  picture  cameras. 


Chief  Long  Lance — he  has  been  a  circus  performer, 
cowboy,  football  player,  light  heavyweight  champion 
of  the  Canadian  Army,  West  Point  cadet,  war  hero, 
archaeologist,  newspaper  man,  and  screen  actor! 


with  Irvin  Cobb,  or  dining  with  Peter  B.  Kyne,  or 
taking  in  a  night  club  with  the  Duke  of  Alba,  or  sit- 
ting for  his  portrait  to  the  Princess  Alexander  Vic- 
toria. And  with  it  all,  Long  Lance  is  as  unspoiled  as 
a  spotted  calf. 

There  are  many  reasons  for  this  man's  popularity. 
First  of  all,  he's  handsome,  in  a  strong,  clean-cut  way. 
He  looks  like  a  Victor  McLaglen  carved  out  in  bronze. 
Tall,  barrel -chested,  thin-hipped,  with  hands  strong 
enough  to  strangle  a  bear. 

In  addition  to  the  Chief's  physical  qualifications,  he 
has  been  a  circus  performer,  cowboy,  football  player, 
light  heavyweight  champion  of  the  Canadian  Army, 
West  Point  cadet,  war  hero,  archaeologist,  newspaper 
man,  author,  and  screen  actor. 

Thirty-four  years 
ago,  Long  Lance  was 
born  out  in  the  Cot- 
tonwoods  of  Mon- 
tana, in  the  neigh- 
borhood of  Sweet- 
grass,  seeing  the  light 
of  day  for  the  first 
time  from  a  tepee.  He 
was  just  one  more  of 
a  vast  number  of  In- 
dians who  were  grad- 
ually being  shunted 
north  from  Montana, 
by  an  encroaching  civ- 
ilization, to  wherever 
they  could  find  a  spot 
for  their  tents  and  a 
few  blades  of  grass 
for  their  dwindling 
slab-sided  cattle — this 


for   October  1930 


63 


being  before  the  government  had  set  aside  reservations 
for  their  protection. 

When  this  child  was  seven  years  old,  he  joined  Buf- 
falo Bill's  circus.  And  he  might  still  be  in  the  sawdust 
ring,  if  a  wall-eyed  pinto  pony  hadn't  rolled  on  him. 
That — and  a  bartender  up  in  Laramie,  Wyoming — 
changed  the  course  of  his  life. 

The  circus  was  in  Gainesville,  Mississippi,  when  the 
horse  rolled  on  the  little  Indian — Gainesville,  a  tiny, 
lovely  town,  fronting  on  the  Gulf,  where  magnolia  blos- 
soms filled  the  air  with  soft  perfume,  and  where  long 
Spanish  moss  trailed  from  nearly  every  slow-stirring 
limb  of  every  ancient  tree. 

The  boy  was  badly  hurt — his  right  arm  broken,  his 
right  leg  crushed.  The  circus  had  little  accommodation 
to  look  after  him  properly.  So  the  mayor  of  the  town, 
Colonel  John  Alexander  Aspinwall,  offered  to  care  for 
the  boy  in  his  home. 

The  neglected  little  Indian  had  never  been  in  a 
house  before.  And  what  a  house — with  its  shining 
rosewood  furniture,  its  wide,  curving,  white  mahog- 
any-trimmed stairways,  its  beautiful  old  silver.  The 
master  of  the  house  wore  white  linen  trousers  and 
a  black  broadcloth  coat.  The  women  wore  long  dresses 
of  satin.  And  even  the  little  girls  had  pinafores  of 
silk. 

From  that  moment,  the  boy  decided  he  would  never 
rest  until  he  had  a  house  like  that  for  his  own.  And 
clothes  like  the  Colonel's  to  cover  his  thin  little  body. 
But  when  he  said  goodbye  to  the  Colonel,  well  and 
sound,  to  rejoin  the  circus,  he  had  to  cover  many 
square   miles    of   territory   and    fight   many  battles 


Left,  a  portrait  of  Long  Lance,  one  of  the  last  of  the 
Vanishing  Americans,  painted  by  Brinjulf  Stran- 
denaeis.  Long  Lance  is  a  Chief  of  the  Blood  Indians, 
and  the  red-skin  star  of  "The  Silent  Enemy." 

Below:  Long  Lance  the  man  about  town!  A  portrait 
by  the  Princess  Alexander  Victoria,  niece  of  the 
former  Kaiser  in  of  Germany.  Long  Lance  is  the 
friend  of  Fannie  Hurst,  Irvin  Cobb  and  other  literary 
lights  of  Manhattan.    He's  in  demand! 


both  with  guns  and  fists  before  he  achieved  his  wish. 

As  he  grew  older,  Long  Lance  left  the  circus  and 
started  punching  cattle.  "Twenty  dollars  a  month  and 
buying  my  own  tobacco  wasn't  getting  me  anywhere," 
Long  Lance  explained,  "but  I  didn't  know  what  to  do 
about  it. 

"One  night  in  Laramie,  Wyoming,  I  was  fooling 
around  a  bar-room.  I  must  have  stuck  there  a  long  time 
when  finally  the  bartender  dried  his  hands  on  a  towel 
and  said  to  me:  'Kid,  you're  too  young  to  be  hanging 
around  this  joint.  Why  don't  you  go  to  the  Carlisle 
Indian  School?' 

"That  made  me  laugh — the  idea  of  my  going  to  school. 
'Why,  I  can't  even  read,'  I  told  that  bartender.  'They 
won't  let  me  in.' 

"He  grunted.   'You  can  learn,  can't  you?' 

"I  did  learn.  The  only  way  I  knew  how.  Whenever  I 
saw  a  newspaper — it  might  only  be  a  torn  piece  lying 
in  a  muddy  road — I  would  pick  it  up  and  try  to  figure 
out  what  the  letters  were.  Then,  as  I  commenced  to  be 
able  to  string  the  letters  together,  I  got  a  dictionary. 
Soon  I  was  able  to  read      {Continued  on  page  113) 


64 


SCREENLAND 


Billie  Dove  at 
breakfast.  Billie 
believes  that 
wholesome  food  is 
necessary  to  health 
and  beauty.  — 
Bran  as  a  breakfast 
dish  is  an  appetiz- 
ing and  healthful 
addition  to  the 
daily  menu. 


Health  and  Beauty 


Healthful  ways  to  the  slim, 
graceful  figure  every 
woman    longs    to  attain 

I HOPE  I  am  writing  this  article  for  the  kind  of 
people  who  always  feel,  as  I  do,  a  sort  of  rebirth 
or  beginning  again  in  the  fall ;  those  people  for 
whom  the  season  has  nothing  of  melancholy  in  it,  to 
whom  autumn  means  that  the  lovely  leisure  of  summer 
is  over  and  now  has  come  a  time  of  bright  energy,  a 
sense  of  fitness  and  purpose,  a  renewal  of  all  one's  high 
resolves. 

It's  trite  but  true  that  every  season  has  its  problems. 
And  no  matter  what  anyone  says,  it  takes  a  lot  of  time 
and  thought  and  energy  to  be  beautiful.  But  then,  it 
takes  that  to  accomplish  anything  worth-while,  doesn't 
it?  And  beauty  is  worth-while,  we're  all  agreed  on  that. 
When  I  say  beauty,  I  don't  mean  that  you  can  all  be 
breathtakingly  lovely,  but  you  can  have  the  beauty  of 
daintiness  that  grooming  gives  and  a  personality  charm- 
ing enough  to  give  you  the  sense  of  well-being  which 
makes  you  interesting  and  pleasing  to  other  people.  And 
that's  what  you  want,  isn't  it? 

Scores  of  girls  write  to  me  bewailing  lack  of  popu- 
larity.   'Boys  don't  care  for  them;'  or  they  can't  'hold' 


By 

Anne  Van  Alstyne 


the  boy  they  like  best ;  or  they're  not  popular  at  parties. 
What  to  do,  how  to  make  themselves  more  attractive, 
how  to  achieve  a  personality  that  will  make  them  more 
popular,  they  want  to  know.  Each  of  these  letters,  of 
course,  has  its  individual  problem  and  is  answered 
personally.  Here,  I  can  only  advise  and  suggest  in  a 
general  way.  But  I  repeat  the  statement  I  just  made. 
You  can  have  the  beauty  of  daintiness  that  grooming 
gives,  and  a  personality  charming  enough  to  give  you 
the  sense  of  well-being  which  makes  you  interesting  and 
pleasing  to  other  people. 

And  now,  it's  autumn.  Time  to  think  of  the  good 
times  and  the  busy  times  ahead.  Time  to  be  glowingly 
alive  and  fit,  to  start  the  season  with  a  rhythm  that 
you  are  going  to  keep  all  through  the  winter. 

Figures — what  about  them?  Have  you  taken  advan- 
tage of  the  marvelous  opportunities  offered  for  outdoor 
exercise?  Have  you  kept  the  blood  moving  and  the 
circulation  from  becoming  sluggish?  Is  your  body  more 
lithe,  graceful  and  supple  than  it  was  at  the  beginning 
of  summer?    Or  are  you  among  the  number  who  be- 


for    October  1930 


65 


lieve  that  summer  is  the  time  to 
get  all  the  rest  possible,  eating, 
meanwhile,  indiscreetly  and  too 
well  of  rich,  unseasonable  foods? 
If  so,  then  no  doubt  your  com- 
plexion as  well  as  your  figure  has 
suffered. 

Many  letters  come  to  me  about 
reducing.  Letters  from  young 
girls  as  well  as  from  older 
women.  Sometimes  it  is  a  dis- 
tribution  of    fat    in  unwanted 

places.  In  other  cases,  it  is  simply  overweight.  In  either 
case,  unless  there  is  an  extreme  overabundance  of  fat 
due,  perhaps,  to  some  organic  trouble,  this  condition 
may  be  corrected  by  diet  and  exercise. 

An  excessive  amount  of  fat  on  the  body  is  not  normal. 
Such  cases  need  expert  diagnosis  and  treatment.  But 
when  unnecessary  weight  is  taken  on  because  of  wrong 
diet  and  too  much  inactivity,  the  cure  is  obvious. 

First,  be  sure  that  you  are  really  overweight.  In 
your  zeal  for  slenderness  remember  that  curves  are 
now  admissible,  that  the  flat,  boyish  figure  is  'out'  and 
that  your  correct  weight  is  computed  according  to  your 
age  and  height.  One  girl  wrote  to  me:  "I  am  twenty 
years  old,  five  feet,  four  inches,  and  I  weigh  one  hundred 
and  twenty-two  pounds.  How  can  I  reduce  five 
pounds?" — when,  as  a  matter  of  fact,  she  was  four 
pounds  underweight ! 

If  you  want  to  avoid  Mr.  Overweight,  scorn  all  ad- 
vances, no  matter 
how  alluring.  "A 


Screenland's  Health  and 
Beauty  Diet  is  yours  for 
the  asking.  Send  stamped, 
self-addressed  envelope 
to  Miss  Van  Alstyne, 
in  care  of  this  magazine. 


sundaes,  gooey  salads,  and  lots 
of  nice  French  pastry,"  he  whis- 
pers in  your  receptive  ear.  But 
don't  listen.  These  are  among 
the  things  you  must  avoid  if  you 
are  inclined  to  overweight. 
Curves  are  admissible  if  they're 
in  the  right  place  and  not  too 
prominent,  but  waistlines  must 
be  preserved.  Avoid  temptation. 
Remember  that  if  you  give  in  an 
inch  you  may  lose  the  whole 
waistline — and  you  need  it  if  you  are  to  wear  the  new 
frocks  successfully. 

Now  there  is  no  particular  formula  for  producing 
beauty,  but  one  essential  ingredient  must  enter  into  its 
foundation  if  it  is  to  be  real  and  lasting.  That  ingredient 
is  health.  And  health  means,  according  to  the  dictionary, 
'absence  of  disease.' 

It  is  only  within  a  short  time  that  the  close  relation 
between  bodily  ailments  and  eating  has  been  appreciated. 
Now,  specialists  all  over  the  world  are  beginning  to 
realize  that  these  ailments  are  not  caused  exclusively 
by  germs  which  can  be  isolated  and  killed.  They  know 
that  improper  eating  is  behind  a  great  many  of  these 
ailments  and  that  they  can  be  controlled  or  cured  by 
correcting  the  diet. 

Not  only  that,  food  specialists  and  manufacturers  of 
food  are  realizing  this  fact  and  are  endeavoring  to  in- 
corporate into  their  products  their  most  nutritive  ele- 
ments and  in  forms  that 
help  to  lay  a  strong  and 
lasting  foundation  for  phy- 
sical and  mental  growth. 

We  find  then,  how  close- 
(Contimied  on  page  106) 


Ruth  Roland  demonstrates  the 
value  of  bending  exercises  for 
slenderizing  the  hips  and  im* 
proving  the  waistlines 


Loretta  Young  has  the  beauty  of  daintiness  that 
grooming  gives;  all  the  svelte  loveliness  that  comes 
from  right  diet,  fresh  air  and  exercise. 


Ruth    Roland  prac- 
tises deep  breathing 
to  keep  the  blood  well 
circulated. 


66  SCREENLAND 

Maureen  from  Dublin 


Meet  Miss  O'Sullivan.  Will 
she  be  another  Janet  Gaynor? 


By 

Betty  Boone 


AN  Irish  flapper  in  Hollywood,  this  Maureen  O'Sul- 
livan from  Dublin !  I  wondered  about  it.  What 
.  does  an  Irish  flapper  in  Hollywood  do — like — 
say?  I  wanted  to  find  out. 
We  walked  along  the  gravel  path,  Maureen  and  I. 
"See  a  pin,  pick  it  up,"  murmured  Maureen  stooping 
for  the  pin  buried  in  the  thick  dust. 

"And  all  day  you'll  have  good  luck,"  I  added,  feeling 
pretty  smart. 


A  n  Irish 
flapper  .  in 
Hollywood — 
Maureen 
O'  Sullivan  . 
Did  you  see  her 
in  "Song  o'  My 
Heart"  and 
"So  This  is 
London?" 


"See  a  pin,  let  it  lie,  and  bad  luck  will  follow  you 
until  you  die,"  finished  Maureen,  fastening  the  pin  in 
her  jacket. 

"You're  superstitious,"  I  accused  her. 
She  admitted  it.  Perhaps  this  luck  of  the  Irish  has 
something  to  do  with  their  superstition.  She  makes  you 
think  of  a  merry  little  elf,  but  with  a  very  nice  dignity, 
you  understand.  A  charming  little  piece  if  there  ever 
was  one.  "I'll  bet  you  believe  in  leprechauns  and  things," 
I  told  her. 

"Not  now,"  she  scoffed,  being,  of  course, 
a  vastly  grown-up  young  lady  of  eighteen 
with  a  house  of  her  own  and  a  Ford  car  that 
she  drives  at  great  speed  here  and  there 
about  the  country  side.  "But  I  did  until  I 
was  about  twelve,"  (oh,  such  a  long,  long 
time  ago!).  "All  Irish  children  believe  in 
the  'little  people,'  as  we  call  them." 

I  shook  my  head  sadly.  "Hardly  like 
American  children." 

Maureen  was  indignant.  "I  think  it's 
terrible  not  to  believe  in  folk  tales  and  elves 
and  Santa  Claus  when  you  are  children. 
Why,  I  used  to  pore  over  books  of  Irish 
fairy  tales.  I  adored  them.  And  do  you 
know,"  she  stopped  eating  toast,  for  this 
was  noon  and  we  were  lunching  now,  ex- 
cept that  this  was  breakfast  for  Maureen — 
that's  how  far  she's  progressed  in  Holly- 
wood. 

"Do  you  know,"  she  eyed  me  severely, 
"if  I  had  children,  I  mean  when  I  do  have 
children,  I  shall  bring  them  up  in  complete 
innocence,  unworldly,  and  they  shall  be- 
lieve implicitly  in  gnomes  and  eftes  and 
yes,  in  Santa  Claus,"  she  finished  trium- 
phantly. "And  then  when  they  are  twelve 
or  so  I  shall  tell  them  all." 

"Not  all!"  I  gasped.  I  was  impressed.  I 
queried  timidly  if  the  sudden  disillusion- 
ment might  not  be  hard  on  the  poor  dears. 

"It  all  happened  to  me  like  that,"  in- 
sisted Maureen.  "I  had  always  believed  in 
Santa  Claus  and  used  to  get  so  excited  at 
Christmas.  Until  one  year  when  I  was 
twelve,  Nanny,  that  was  our  nurse,  was 
trying  to  get  us  to  bed,  but  we  just  wouldn't 
quiet  down.  So  mother  came  in  and  said, 
'Hurry  up,  children.  Your  father  wants  to 
go  to  bed.  You're  keeping  him  up  all  night. 
He  can't  fill  the  stockings  until  you  get  to 
sleep.'    Then  I  knew." 

Tch,  tch !  Imagine !  Maureen  glanced 
out  of  the  corner  of  those  merry  Irish  eyes. 
Was  dear  old  Santa  being  kidded? 

"Tell  me  about  {Continued  on  page  123) 


Paramount  Pictures 


The  zMost  "Beautiful  Still 
of  the  zMonth 

RICHARD  ARLEN  in  "THE  LAW  RIDES  WEST" 


The 

MOLDED 
MODE 


Above,  right,  another  view  of  Catherine's 
singlette,  which  solves  the  undie  problems 
of  the  backless  evening  gowns.  This  under- 
garment provides  the  correct  foundation, 
molding  without  marring  the  suppleness  and 
grace  of  the  natural  figure. 


Right:  like  all  Follies  girls,  Miss  Moylan  can 
wear  clothes  beautifully.  Her  gown  is  of 
black  satin  and  chiffon.  Intricate  designs  of 
satin  form  a  slender  yoke  at  the  hips,  and  the 
chiffon  gives  a  soft  flounced  skirt. 


The  new  fashions  demand 
form-fitting  lingerie 


Below,  Dorothy  McNulty  displays  a  cor- 
rectly tailored  singlette  in  glove  silk, 
flesh  pink  and  daintily  lace-trhnmed, 
with  no  bones  or  elastic.  It  forms  a 
natural  all-in-one  foundation  garment 
for  every  gown. 


I 


Above:  ex-flapper,  or  the  new  model  femmel 
Doesn't  Dorothy  look  dignified  in  the  new 
sweeping  -  the  -  floor  white  evening  gown? 
Dorothy  looks  entirely  different  herefrom  the 
frisky  flapper  she  plays  in  "Good  News." 


T UANA  ALCANIZ,  a  lovely  Spanish  dancer, 
*-*'  singer,  and  actress,  makes  her  screen  debut 
in  Victor  McLaglen's  latest  picture,  "Sez  You, 
Sez,  Me!11  Looking  at  Luana  Alcaniz,  all  we  can 
say  is  "Si,  si,  Senonta  P1 ' 


Hal  Phy/e 


\A  OVIETONE  is  grabbing  off  the  promising 
•*-v-*-  new  talent.  The  latest  discovery  is  Louise 
Huntington  of  the  stage,  who  makes  her  bow  in 
John  Ford's  picture  of  prison  life  called,  apprc 
priately  enough,  "Up  the  River.11 


1 


The  profile 
above  belongs 
to  Jane  Keith, 
who  makesher 
Movietone  de- 
b  u  t  with 
Milton  Sills  in 
"The  Sea 
Wolf." 


In  the  oval  is  Marlene  Dietrich; 
heralded  as  "the  German 
Gar  bo,"  whose  first  Hollywood 
film  is  "Morocco,"  with  Gary 
Cooper  and  Adolphe  Menjou. 


Right, Michael  Bartlett, 
who  brings  a  grand 
opera  voice  and  husky 
he-manliness  to  his 
role  in  "  The  Heart 
Breaker,"  for  Fox. 


New  Faces— with  Voices! 


Dolores  Del 
Rio's  double? 
No,  but  Rosita 
Moreno  is  an- 
other Latin 
beauty  who'll 
be  seen  in 
"The  Law 
Rides  West." 


Ona  Munson,  in  the  oval,  came 
from  the  New  York  musical 
stage  to  play  the  heroine  in 
"Going  Wild."  You'll  like  Ona. 


Left:  Bruce  Rogers, 
younger  brother  of 
Charles  Buddy  Rogers, 
whom  you'll  be  seeing 
soon  in  Paramount 
pictures. 


Stars 


Tomorrow? 


She  makes  her  bow 
in  Buddy  Rogers' 
new  song-and-dance 
film,  "Heads  Up"— 
a  pretty  blonde 
named  Margaret 
Breen. 


Above,  Evelyn  Knapp,  from  the  New  York 
stage,  plays  the  leading  role  in  Warners' 
"Penny  Arcade."    Rose  Hobart,  right,  in- 
genues for  Movietone. 


FACES 


LJERE'S  a  brand-new  view  of  Marion  Da  vies. 

She  isn't  high-hatting  us — the  camera  artist 
caught  a  glimpse  of  her  pretty  profile  and  told  her 
about  it  and  it  turned  her  head !    Thanks,  Marion, 
for  a  charming  picture. 


"CtOOD  NEWsr    Mary  Lawlor  helPed  t0 
^*  make  it  a  musical  comedy  success  on  Broad 

way  and  she  also  lends  her  vocal  and  optical  charms 

to  the  screen  version.    And  you  may  see  her 

with  Richard  Dix  in  "Shooting  Straight. 11 


Clarence  Sinclair  Bull 


A LITTLE  Southern  girl  who  is  making  good 
in    the  movies — Dorothy    Jordan.    You 'all 
found  her  charming  in  "Devil  May  Care"  and 
you'll  like  her  more  and  more  in  "Love  in  the 
Rut11  and  "Dark  Star,"  see  if  you  don't! 


r>LARA  BOW  had  better  be  a  good  little  girl 
or  Paramount  may  put  Mitzj  Green  in  her 
pictures  to  steal  all  the  scenes.    Clara  brings  her 
old-time  zest  to  her  new  role  in  her  latest  picture, 
"Her  Wedding  Night,"  now  being  filmed. 


! 


•"THE  latest  Harold  Lloyd    comedy   is  always 
A  something  to  cheer   about.     The  spectacled 
comedian's  new  howlie  is   "Feet   First,"  with 
pretty  little  Barbara  Kent,  pictured  here,  as  a 
very  special  'extra  added  attraction.1 




for   October  1930 


83 


cJfISS 
MIDGET 

A  close-up  of 
the  little  girl — 
Dorothy  Lee 
to  you — who's 
known  to  most 
of  Hollywood  as 
Midge 


By 

Richard  Ray 


I HAD  looked  forward  to  interviewing  Dorothy 
Lee.  Ah — a  quiet  two  hours  in  a  tranquil  tea- 
room tete  a  tete,  I  asking  questions,  she  answer- 
ing them  with  a  dreamy  look  in  those  big  brown 
eyes.   As  a  matter  of  fact : 

"I  hate  tea  rooms,"  said  Dorothy  Lee.  "Besides,  I 
had  a  late  breakfast  and  I'm  not  hungry.  Do  you 
play  golf?" 

From  that  moment  until,  tired  and  footsore,  I  arrived 
home,  I  chased  Midge — (her  nickname,  derived  from 
Midget,  for  Dorothy  is  a  tiny  parcel!) — all  over  South- 
ern California. 

The  route  included  eighteen  holes  of  golf  at  the 
Lakeside  Club,  two  sets  of  tennis  at  the  Los  Angeles 
Tennis  Club,  a  swim  at  the  beach,  where  Miss  Lee 
has  a  summer  home,  and  several  sets  of  ping  pong  in 
the  game  room  of  her  house.  At  the  end  of  the  session, 
I  was  hoping  an  ambulance  would  pass  and  rush  me  to 
my  home  and  bed.  She  was  ready  to  visit  the  beach 
and  take  in  the  pleasure  rides  and  side-shows  there. 

Never  in  one  girl  have  I  seen  so  much  animation 
and  pep.  She  is  the  exception  that  proves  the  rule 
that  small  girls  are  not  athletic.  Barely  five  feet  high 
and  weighing  less  than  one  hundred  pounds,  Dorothy 
is  one  of  the  screen's  best  all-around  feminine  athletes. 
Perhaps  she  is  the  best.  I  know  of  no  one  who  can  beat 
her  at  tennis.  There  are  few  who  can  better  her  golf 
game.  At  swimming  she  holds  her  own  with  every 
film  actress  who  goes  in  for  that  sport.  She  is  equally 
proficient  at  horseback  riding. 

As  a  matter  of  record,  she  earned  her  nickname — 


You  saw  her  with  Bert  Wheeler  in  "Rio  Rita" 
and  "The  Cuckoos."   Her  latest  is  "Dixiana," 
for  which  she's  all  dressed  up,  above 


Midget — when  she  played  lacrosse  on  the  championship 
team  when  she  attended  school  in  Los  Angeles.  Other 
girls  on  the  team  weighed  twenty-five  or  thirty  pounds 
more  than  Dorothy  but  she  was  the  outstanding  star 
of  the  lacrosse  season. 

Dorothy  is  a  Los  Angeles  girl — one  who  had  to  leave 
her  home  city  to  become  successful.  For  more  than  a 
year  she  haunted  the  studios  in  search  of  work  but 
with  no  good  luck.  At  each  casting  office  the  reply 
was  the  same:  "No  work  today."  Undaunted,  she 
turned  to  the  stage  and  was  an  instantaneous  hit  in 
prologues  in  and  around  Los  Angeles.  An  eastern  pro- 
ducer saw  her  and  signed  her  for  the  leading  feminine 
role  in  "Hello  Yourself."  The  play  had  a  long  run  in 
New  York  and  on  the  road. 

When  RKO  studio  officials  were  casting  "Syncopa- 
tion," Miss  Lee  was  among  those  tested.  She  photo- 
graphed well,  danced  and  sang  well,  and  had  a  plentiful 
supply  of  personality.  Result:  she  won  the  part  over 
almost  three  score  others  who  were  after  it.  This  led 
to  "Rio  Rita"  which  in  turn  culminated  in  a  long-term 
contract.  It  is  a  fact  that  Miss  Lee's  salary  is  more 
than  ten  times  what  she  asked  when  she  first  visited 
the  studios  in  search  of  work  two  years  ago. 

Dorothy  is  a  bundle  of  nerves.  She  is  a  tomboy  and 
yet  she  is  entirely  feminine.  She  can  sit  on  the  back  of 
an  overstuffed  chair  with  all  {Continued  on  page  127) 


84 


Reviews 


<  5^  SEAL- OF;  -: 


SCREENLAND 


the 


Neil  Hamilton,  Barthelmess,  and  Doug  Fairbanks,  Jr. 
in  "The  Dawn  Patrol,"  ace  of  war  pictures. 


Lon  Chaney  with   Harry  Earles  and  Ivan  Linow 
in  "The  Unholy  Three,"  Lon's  first  talker. 


The  Dawn  Patrol 


IT  TT  ERE'S  the  ace  of  all  war  pictures.     A  spectacular 

I  I     circus  of  the  air,  it  records  the  adventures  of  a 

■     I     gallant  squadron  of  the  Royal  Flying  Corps. 

-°-  And  somehow,  it  is  a  glamourous  show.  There's 

more  of  the  romance  and  the  high  courage  than  the  brutal- 
ity of  war  about  it.  It's  the  "Journey's  End"  of  the  air. 
You  watch  these  fine  lads  flying  off  to  keep  their  rendezvous 
with  death  in  the  clouds.  You  wait  behind  with  the  squad- 
ron commander  as  he  listens  for  the  returning  planes  and 
wonders  who'll  come  back — this  time.  And  then  you  soar 
with  the  bravest  of  them  all  over  the  enemy  lines  on  a 
mission  of  death  and  destruction — and  after  all  the  excite- 
ment is  over  you  come  back  to  earth,  and  find  yourself 
applauding  a  grand  picture.  Richard  Barthelmess  does 
it  again!  His  latest  performance  is  also  his  best.  And  look 
at  this  competition — Douglas  Fairbanks,  Jr.,  and  Neil 
Hamilton,  both  splendid.  Howard  Hawks  has  directed 
the  best  air  scenes  screened  so  far.   Bravos  for  everybody! 


The  Unholy  Three 


CHANEY  TALKS!  And  you'll  talk,  too,  about  Lon's 
first  audible  offering.  The  screen's  great  char- 
acter actor  took  no  chances  with  his  first  talker. 
He  used  not  one  voice,  but  three ;  he  plays  not  only 
his  familiar  crook  character,  but  an  old  lady.  He's  the 
same  Lon  Chaney  with  the  added  interest  of  a  repertoire 
of  voices  to  match  his  faces.  In  "The  Unholy  Three"  he 
has  for  a  vehicle  one  of  the  most  fascinating  stories  ever 
filmed.  You  may  remember  the  silent  screen  version. 
When  you  see  the  talker  you'll  wonder  how  the  original 
could  have  been  made  without  sound.  The  macabre  tale 
of  the  three  crooks — Echo,  the  ventriloquist;  Hercules,  the 
strong  man;  and  Midget,  the  meanest  of  them  all — has 
become  a  classic  of  the  screen.  It  has  horror,  humor, 
romance.  Lila  Lee  as  the  girl  is  sensational  not  only 
pictorially  but  dramatically.    This  girl  is  lovely  dynamite. 


For  the  Defense 


William  Powell,  the  star,  with  Kay  Francis  and 
William  Davidson  in  "For  the  Defense."  Splendid. 


FOR  real,  unvarnished,  engrossing  entertainment, 
take  me  to  a  William  Powell  picture.  You  saw 
"Street  of  Chance?"  Then  don't  miss  "For  the 
Defense."  The  same  star,  the  same  director — 
John  Cromwell — the  same  superb  and  nonchalant  touch, 
truly  this  Powell  series  of  polished  crime  plays  is  providing 
us  with  authentic  and  intelligent  amusement.  In  "For 
the  Defense"  it's  not  the  'plot',  it's  the  mood,  and  the 
characterization.  Powell  plays  Bill  Foster,  brilliant  crimi- 
nal lawyer  and  gay  boy  of  Manhattan,  who  confounds 
the  bar  association  and  the  district  attorney,  performs 
pranks  in  the  court-room,  shines  in  speak-easies,  and  finally 
commits  an  act  of  gallantry  that  sends  him  to  Sing  Sing — 
still  smiling.  It's  a  rich  role  and  Powell  plays  it  to  the  hilt. 
Kay  Francis,  as  his  sweetheart,  is  handsomer  than  ever — 
the  one  believable  siren  on  the  screen  today.  Mr.  Powell 
and  Miss  Francis,  in  fact,  are  foremost  representatives  of 
the  new  order  of  things  in  Hollywood. 


for    O  ctbber   19  3  0 


85 


Best 


Pictures 


Screenland's  Critic  Selects 
The  Six  Most  Important 
Films  of  the  Month 

Romance 


'■co  •  SEAL-OF) 


YOU  have  never  seen  a  lovelier  figure  on  stage  or 
screen  than  Greta  Garbo  presents  in  "Romance." 
She  is  breath- takingly  beautiful  in  the  enchanting 
costumes  of  1850,  the  period  in  which  this  Edward 
Sheldon  play  is  laid.  Garbo  in  "Anna  Christie"  was  vivid 
and  arresting.  Garbo  in  "Romance"  is  all  sweet  seductive- 
ness, allure,  and  tenderness.  If  she  is  never  quite  the 
imperious  Cavallini,  operatic  toast  of  her  day,  with  New 
York  at  her  feet;  if  she  is  always  Garbo,  the  fascinating 
Nordic  sweeping  about  the  sets  of  a  more  mellow  day  in 
costumes  that  obviously  delight  her  soul — who'll  complain? 
Pictorially,  she  is  a  revelation.  And  in  some  moments 
she  is  the  consummate  actress  of  her  silent  pictures.  Clar- 
ence Brown,  a  fine  realistic  director,  is  not  at  home  here. 
He  is  too  literal,  and  his  love  scenes  lack  the  spark.  Lewis 
Stone  and  Gavin  Gordon  are  just — support.  "Romance" 
is  all  Garbo.    And  Garbo  is  all  romance  to  most  people. 


Let  Us  Be  Gay 


A  ND  how  can  we  help  it,  with  Norma  Shearer  at  her 
/%  loveliest  and  Marie  Dressier  at  her  best?  It's  a 
/  %  gay,  deft,  sophisticated  picture,  and  you'll  enjoy 
every  minute  of  it  or  I'll  be  disappointed  in  you. 
It  all  begins  with  Norma  as  a  neglected  wife — try  to  imagine 
it.  She's  one  of  these  sweet,  long-suffering  souls  who  be- 
lieves that  pretty  is  as  pretty  does — until  she  learns  that 
her  husband  has  been  looking  elsewhere  for  the  beauty 
denied  him  at  home.  Then  she  wakes  up.  But  not  before 
Norma  has  a  chance  to  shine  in  a  little  clear-cut  cameo 
characterization,  perfect,  and  pathetic,  of  the  drab  wife. 
Then,  of  course,  she  turns  into  a  beautiful  butterfly  in  the 
Hollywood  manner.  And  the  fun  begins,  with  Miss  Dressier 
stealing  all  the  scenes  as  a  doughty  dowager,  and  Hedda 
Hopper,  Rod  La  Rocque,  Sally  Eilers  and  Gilbert  Emery 
contributing  cleverness.  You  can  be  comfortable,  chuck- 
ling at  the  goings-on  in  this  film  for  you  know  that  the 
ending  will  be  perfectly  proper. 


Good  Intentions 


THE  underworld  again!  But  with  a  difference. 
You  may  think  you  have  had  about  enough  of  these 
sleek  crooks  and  their  sinister  associates  but  don't 
give  up  until  you  have  seen  "Good  Intentions." 
Then  you'll  be  sold  on  a  series.  And  there  won't  be  any 
more,  not  for  a  long  time,  for  smooth  and  expert  films 
like  this  are  few  and  far  between.  I  mentioned  'a  differ- 
ence.' It's  in  the  direction,  by  William  K.  Howard.  He 
wrote  the  story,  too — and  the  dialogue;  and  it  only  proves 
what  I've  thought  for  a  long  time  and  what  "Devil's  Holi- 
day" and  "Good  Intentions"  bear  out — that  a  one-man 
picture  is  the  best.  Mr.  Howard  knew  just  what  he  wanted 
to  do  and  to  say.  The  result  is  consistent,  intelligent,  and 
adult  entertainment.  Edmund  Lowe  helps.  He  is  at  his 
suave  best  as  the  picturesque  and  polished  leader  of  his 
gang.  He  glances  away — in  the  direction  of  pretty  little 
Marguerite  Churchill,  providing  keen  complications.  Earle 
Foxe  and  Regis  Toomey  are  excellent.    It's  a  good  picture. 


Greta  Garbo  is  supported  by  Lewis  Stone  and  Gavin 
Gordon  in  "Romance,"  her  latest  talking  picture. 


Marie  Dressier  and  Norma  Shearer  share  acting 
honors  in  "Let  Us  Be  Gay,"  a  delightful  comedy. 


Edmund  Lowe  is  at  his  best  as  the  suave  master- 
mind in  "Good  Intentions,"  rousing  melodrama. 


86 

Critical 


Manslaughter 

It's  the  talker  version  of  a  popular  book  and  silent  picture. 
It  has  alluring  Caludette  Colbert  for  its  heroine  and  mag- 
netic Fredric  March  for  its  hero.  It  has  some  thrills  and 
suspense  and  clever  direction.  Yet  it  is  only  moderately 
good  entertainment.    Go,  but  don't  expect  too  much. 


Wild  Company 

Reckless  youth  at  play — only  this  time  it's  all  the  fault 
of  the  older  generation.  If  H.  B.  Warner  had  been  a  sterner 
father,  Frank  Albertson  wouldn't  have  met  Sharon  Lynn 
and — there  wouldn't  have  been  any  story.  As  it  is,  Frank 
proves  himself  by  far  the  best  of  our  juvenile  actors. 


The  Big  Fight 

With  Guinn  Williams  and  Lola  Lane  in  the  roles  enacted 
by  Jack  Dempsey  and  Estelle  Taylor  in  the  stage  play,  this 
will  satisfy  those  who  relish  romances  of  the  ring.  The 
champ— his  girl-friend— her  weakling  brother  in  the  clutches 
of  a  racketeer — if  you  like  this  sort  of  thing,  go  to  it! 


SCR EE NLA ND 

Comment 


The  Sap  from  Syracuse 

Another  triumph  for  young  Jack  Oakie,  the  boy  who 
never  disappoints  his  audiences.  It's  funnier  than  "The 
Social  Lion,"  and  Jack,  you'll  be  glad  to.  note,  has  de- 
veloped no  tendencies  towards  forced  smartiness.  He's  as 
spontaneous  as  ever.   Ginger  Rogers  assists.   Don't  miss  it. 


A  Man  from  Wyoming 

Don't  be  misled  by  the  title.  It  isn't  a  western,  but  a 
war  drama.  Gary  Cooper  plays  a  dashing  young  captain 
of  engineers,  with  a  new  leading  lady,  June  Collyer. 
It's  never  very  convincing,  but  if  you  like  Gary,  rehashing 
the  war,  and  June's  dimples,  you  may  be  pleased. 


On  the  Level 

It  takes  more  than  Victor  McLaglen  and  the  repetition  of 
"Oh,  yeah?"  to  make  another  "Cock-Eyed  World."  "On 
the  Level"  has  a  few  funny  scenes  but  these  can't  com- 
pensate for  the  long  stretches  of  dubious  humor.  Plenty 
of  plot  and  McLaglen,  Fifi  Dorsay  and  Lilyan  Tashman. 


for    October   1930  87 

on    Current  Films 


The  Border  Legion 

Richard  Arl  en,  Jack  Holt,  Fay  T\  ray  and  Eugene  Pallette 
in  a  strong,  rousing  picturization  of  a  Zane  Grey  yarn — 
what  more  do  western  addicts  want?  It's  good  to  see  Jack 
in  one  of  his  familiar  roles  again,  and  Dick  is  appealing — 
but  Pallette  and  Stanley  Fields  share  their  honors. 


Ladies  of  Leisure 

Cheers  for  Barbara  Stanwyck!  She  proves  herself  a  grand 
actress  and  potent  personality  in  this  intense  drama  of 
'ladies  of  the  evening'  in  love,  from  the  Belasco  play. 
The  film  maintains  its  pace  up  to  a  badly  botched  'movie 
ending.'    But  it's  well  worth  your  while  to  see  Barbara. 


Lawful  Larceny 

Lowell  Sherman  doubles  in  brass,  both  directing  and  act- 
ing in  this  talker  taken  from  the  stage  play.  Most  of  the 
clever  lines  fall  to  Lowell.  Bebe  Daniels  is  featured  but  is 
allowed  to  contribute  little  besides  her  beauty.  Mr.  Sher- 
man steals  the  show.     An  entertaining  domestic  drama. 


Hell's  Island 

Melodrama,  frank  and  unashamed.  Jack  Holt  and  Ralph 
Graves,  rivals  in  the  Quirt-Flagg  manner  for  the  affections 
of  a  cabaret  cutie,  Dorothy  Sebastian,  fight  it  out  in  ap- 
proved Foreign  Legion  fashion.  Excitement,  some  comedy, 
and  lots  of  heavy  acting  by  the  leading  trio. 


This  Mad  World 

What,  another  war  picture?  Not  much  excuse  for  this 
one.  Kay  Johnson  and  Basil  Rathbone  must  choose  be- 
tween passion  and  patriotism,  for  their  countries  are  at 
war.  Some  splendid  moments,  and  good  performances  by 
Miss  Johnson,  Mr.  Rathbone  and  Louise  Dresser. 


Sins  of  the  Children 

Louis  B.  Mann  has  a  splendid  opportunity  to  ingratiate 
himself  with  screen  audiences  in  this  sentimental  picture 
of  the  old-fashioned  father  of  a  fast-stepping  family.  He's 
touching  and  fine.  Robert  Montgomery  and  Leila  Hyams 
are  excellent.    Recommended  for  the  whole  family. 


88 


SCREENLAND 


On  Location  with 


Shooting  the  Scenes  for 
"The  Sea  God55  with 
Dick  Arlen  and  Fay  Wray 

By 

Helen  Ludlam 


Above,  a  dramatic  scene  from  "The  Sea  God" 
with  Fay  Wray  and  Dick  Arlen.    Dick  has 
the  role  of  a  deep-sea  diver  and  Fay,  of  course, 
is  the  fair  heroine. 


Right,  time  out!  Dick  Arlen,  Fay  Wray, 
Helen  Ludlam,  S  GREENLAND'S  Location 
Lady,  and  director  George  Abbott  resting  on 
location  at  Catalina  for  "The  Sea  God." 


FOR  months  and  months  I  had  been 
looking  forward  to  "The  Sea  God"  location. 
"It  isn't  until  summer,  but  it  will  be  swell," 
Dick  Arlen  told  me.  "All  under-water  stuff. 
That's  why  we  have  to  wait  until  summer  when  the 
water  will  be  warm." 

And  now  we  were  on  our  way  to  Catalina,  which  had 
been  picked  for  the  location  because  of  the  still,  clear 
water  and  the  beauty  of  the  sea  floor.  We  arrived  late 
in  the  afternoon  and  plenty  wet  from  our  trip  on  the 
Cabrillo,  for  the  seas  ran  high  that  day,  and,  preferring 
the  forward  deck  to  the  lounge,  we  paid  for  our  rashness. 

The  company  was  housed  at  the  old  Banning  place, 
which  has  always  set  my  heart  beating  with  envy.  It 
is  so  spacious  and  livable  and  quiet.  And  it  overlooks 
as  much  beauty  as  it  is  good  for  one  pair  of  eyes  to  be- 
hold at  a  time.  Everything  is  so  full  of  color.  Of 
course,  I  am  speaking  of  the  Isthmus,  which  is  on  the 
other  side  of  the  island  from  Avalon.  The  Isthmus  has 
only  a  few  cottages  and  tents  and  a  commissary,  most 
of  which  were  used  by  the  company,  which  included 
the  staff  and  the  extras. 

Dick  lived  aboard  his  yacht.  Yep,  he  has  one.  He 
and  Walter  Huston,  who  became  good  friends  during 
the  making  of  "The  Virginian,"  bought  it  together, 


overhauled  it  and  painted  it  themselves,  and  it's  a 
beauty.  Walter  was  there,  too,  on  a  vacation  before  he 
plunged  into  work  on  "The  General"  for  Paramount. 
So  was  Mrs.  Richard  Arlen,  otherwise  known  as 
Jobyna  Ralston.  We  hadn't  seen  Joby  for  a  long  time 
and  had  forgotten  how  rosy  and  merry  her  face  was-. 
She  was  tanned  from  the  sun  and  looked  too  healthy 
for  words. 

"She's  awfully  cute,"  one  of  the  girls  told  me.  "She 
always  wears  those  sailor  pants  with  a  sweat  shirt  and 
goes  around  with  a  little  gun  trying  to  shoot  wild  goats. 
There  are  millions  of  them  on  the  island,  you  know. 
She  is  always  game  to  get  up  at  dawn  and  go  fishing 
with  any  of  the  troupe  who  will  take  her,  and  she  is 
good  at  it,  too." 

As  soon  as  everyone  got  washed  up  we  piled  into  a 
water  taxi  and  steamed  off  to  see  the  rushes  which  were 
to  be  run  in  the  new  Casino  Theater  at  Avalon.  It  was 
a  lot  of  fun  getting  there,  because,  aside  from  the  ex- 
treme beauty  of  the  water  and  rocks  which  were  all 
colors  of  green  and  lavender  in  the  evening  light  we 
could  see  little  black  goats  jumping  about  over  the 
rocks  which  rose  sheer  from  the  water  to  a  height  of 
several  hundred  feet.    We  hailed  Joe  Schenck's  yacht 


for   October  1930 


Richard  ?Ar 


anchored  in  a  charming  lagoon  and  waved  to  those  on 
board. 

In  this  theater  I  saw  my  first  sound  rushes  and  found 
them  as  interesting  as  I  had  imagined,  though  I  should 
think  a  cutter  would  go  mad  trying  to  unravel  all  those 
different  shots  of  the  same  scene.  The  bit  we  saw  was 
under-water  stuff.  A  man  going  down  in  diver's  outfit 
and  then  the  little  bubbles  churning  up  the  surface  of 
the  waters  which  told  those  above  that  all  was  well 
with  him.  It's  amazing  what  divers  have  nowadays — ■ 
underwater  torches  and  telephones. 

None  of  the  really  interesting  under-water  stuff  had 
been  taken  at  that  time  but  it  was  thrilling  just  the 
same  to  see  the  unwieldy  figure  plowing  through  the 
misty  water,  scuffling  through  seaweed  and  shells  and 
startling  the  fish  half  out  of  their  wits.  Dick  is  doubled 
in  some  of  the  things  done  under  water  which  are  too 
dangerous  for  a  land  man  to  attempt.  But  he  does  do 
some  of  the  stunts  and  he  wasn't  looking,  forward  to 
the  experience  with  any  great  amount  of  enthusiasm. 
"I  like  fun  and  all  that,"  said  Dick,  grinning,  "but  this 
stuff  is  darn  dangerous  for  a  novice  to  monkey  with, 
and  if  anything  happens  it's  too  late  to  worry."  Dick 
isn't  any  piker  but  he  has  got  common  sense. 

After  the  rushes  we  filed  out  of  the  theater  to  find  the 
first  arrivals  for  the  regular  show  waiting  patiently 
outside.  And  how  surprised  and  pleased  they  were  to 
see  Fay  Wray,  Dick  Arlen,  Eugene  Pallette,  Maurice 
Black,  Ivan  Simpson  and  William  Gleckler  when  the 
doors  opened  and  we  all  strolled  out. 


We  went  to  the  St.  Catherine  Hotel  for  dinner,  the 
first  time  I  had  been  in  the  place  since  the  location  on 
"Drag  Harlan"  with  Bill  Farnum,  years  ago.  The 
hotel  hadn't  changed  much,  but  the  cuisine  had. 

Our  ride  back  in  the  water  taxi  was  made  in  record 
time.  A  card  table  was  put  up  stern  and  Joby  and  two 
or  three  others  played  bridge — as  well  as  they  could 
for  the  joy  ride  we  had  that  night.   How  we  did  ride! 


Above,  putting  a  little  realism  in 
the  picture — director  George  Abbott 
tears    Fay    Wray's   dress  for  the 
"jungle"  fight  scenes. 

Left,  Fay  Wray  and  Richard  Arlen 
emoting  before  the  camera.  In  the 
background,  Helen  Ludlam,  George 
Abbott,  assistant  director  Charlie 
Barton,  cameramen  and  props. 

Eugene  Pallette  declared  nothing 
but  the  rear  end  of  the  boat  touched 
the  water  from  dock  to  dock. 

Next  morning  we  were  up  at 
dawn  and  had  breakfast  served  to 
us  at  the  Banning  House  by  the 
special  chef  engaged  for  the  troupe. 
And  how  he  could  cook  bacon, 
pancakes  and  biscuits! 

Eugene  Pallette  didn't  have  to 
get  to  work  that  day  so  what  he  did 
was  to  rise  at  four  o'clock,  rout  Joby  and  Walter 
Huston  out  of  their  bunks  on  the  boat  and  go  fishing. 
While  we  were  at  breakfast  he  came  breezing  in  with 
an  enormous  basketful  which  he  promised  for  our 
dinner.  "I  must  apolog  ize  for  all  the  noise  we  made 
when  we  came  in  last  night,"  he  said,  grinning  at  those 
who  had  not  gone  to  Avalon  the  night  before.  "Did 
you  hear  me  yell  'Quiet!' "  went  {Continued  on  page  112) 


90 


SCREENLAND 


The  film  colony 
brushes  up  on  its 
Spanish— parties! 


Ti 
: 


^HIS  is  the  glorious  season  of 
autumn  leaves,  un tanning  your 
skin,  and  going  to  barbecues!" 
exclaimed  Patsy.  "Frank  Lloyd 
is  giving  a  barbecue  at  his  big  ranch 
over   near  MontebeUo,   in   honor  of 
Richard  Barthelmess." 

Through  the  lovely  old  countryside 
we  rode,  along  winding  country  roads 
which  led  through  miles  of  green 
English  walnut  groves,  past  ancient 
houses,  until  we  turned  into  a  dirt 
road,  which  led,  under  the  shade  of 
big  trees,  to  the  stately  white  Colonial 
house  where  Lloyd  dwells  with  his 
charming  family. 

Our   invitations  had   read,  rather 
mysteriously,  "Watch  for  the  boy  with 
the  red  sign,"  but,  as  Patsy  put  it,  we  found  only  a  very 
red  boy  with  a  sign ;  however,  he  turned  out  to  be  the 
right  boy,  and  we  found  our  way  without  trouble. 

Our  host  had  turned  his  big  tennis  court  into  a  huge 
out-door  picnic  ground,  with  gaily  colored  umbrellas 
and  awnings  shading  the  tables  and  the  rustic  chairs. 

Frank  Lloyd  and  his  delightful  wife  greeted  us  with 
all  the  kindly  warmth  of  their  most  kindly  natures,  and 
we  said  "Hello"  to  Dick  Barthelmess  and  his  lovely 
mother. 

It  would  never  do  to  give  a  Spanish  barbecue  without 
having  Spanish  entertainers,  and  our  host  had  supplied 
a  number  of  these,  all  gay  in  their  bright-hued  sashes 
and  toreador  hats  with  their  trousers  of  black  velvet, 
slashed  at  the  ankle  to  repeal  red  satin  inserts,  and  with 
their  white  silk  shirts.  Even  the  waitresses  were  dressed 
as  Spanish  peasants. 

Warner  Baxter  and  his  beautiful  wife,  whom  we  used 
to  know  in  her  old  theatrical  days  as  Winifred  Bryson, 
waved  to  us  to  join  them  at  their  table  under  a  great 
gay  umbrella ,  and  Winifred  told  us  how  she  and  Warner 
had  just  come  from  location  in  Utah,  where  she  made 
a  real  home  for  Warner  out  of  the  funny  little  cabin 
in  which  they  dwelt.  She  did  the  cooking  when  they 
didn't  go  to  the  regular  mess  tent,  she  said,  and  she 
hadn't  forgotten  her  cooking  experience  when  she  kept 
house  for  Warner  in  a  single  apartment,  when  they 
were  just  starting  out  on  their  careers. 

We  told  Warner  that  he  ought  to  use  his  Spanish 
accent  here,  but  he  said  that  he  liked  to  rest  it  out  of 
working  hours;  but  we  said  to  him  that  we  had  thought 
that  by  this  time  he  wouldn't  be  able  to  speak  a  real 
word  of  English,  he  had  played  so  many  Spanish  roles! 

Antonio  Moreno  was  another  guest  who  fitted  ex- 
cellently into  his  Spanish  background,  but  Tony  has 
been  in  this  country  so  long  that,  though  he  speaks 
pure  Spanish  beautifully,  he  said  he  had  had  to  learn  a 
Spanish  accent! 

Chester  Morris  and  his  wife  were  there,  and  we  met, 
also,  Joe  E.  Brown  and  his  wife  and  son. 

"My  son  has  a  Spanish  name,  even  if  he  is  blond," 
Joe  remarked. 


The  picture  people  have  found  a  new  playground.    It's  Casa  La 
Golondrina,  pictured  above.  On  Olvera  Street,  it's  like  a  bit  of 
the  old  Spanish  days  in  Los  Angeles. 


Warner  Baxter  refused  all  requests  to  use  his  Spanish 
accent  at  the  Barthelmess  party— he  said  he  likes  to 
rest  it  after  working  hours! 


for    October    19  3  U  91 

Just  An  Old 

SPANISH  CUSTOM 
in  HOLLYWOOD 

By  Grace  Kingsley 


But  we  didn't  find  out  what  it  was  because  just  then 
a  crowd  of  people  Joe  knew  carried  him  off. 

H.  B.  Warner  and  his  wife,  Rita  Stanwood,  were 
among  the  guests,  and  there  were  Bessie  Love  and  her 
husband,  William  Hawks,  Mr.  and  Mrs.  Montagu 
Love,  (no  relation  to  Bessie),  Edmund  Lowe  and 


Frank  Lloyd  gave  a  Spanish  barbecue  for  Richard 
Barthelmess,  who  has  just  finished  "Adios,"  the  old 
Spanish  costume  picture  directed  by  Lloyd. 


Lilyan  Tashman,  James  Gleason  and  his  wife,  Lucille 
Webster  Gleason;  Marian  Nixon  and  her  husband, 
Edward  Hillman;  Louise  Dresser  and  Jack  Gardner, 
Joseph  and  Queenie  Cawthorn,  Mr.  and  Mrs.  Will 
Kernell,  Mr.  and  Mrs.  Conrad  Nagel,  Douglas  Fair- 
banks, Jr.,  and  Joan  Crawford,  Hal  Wallis  and  Louise 
Fazenda;  Mr.  and  Mrs.  George  Fitzmaurice,  Hope 
Loring  and  Louis  Lighten,  Mr.  and  Mrs.  J.  Farrell 
Macdonald,  Mr.  and  Mrs.  Neil  Hamilton,  May  McAvoy 
and  Maurice  Cleary,  Henry  Hobart  and  Olive  Tell, 
James  Rennie,  Walter  Pidgeon,  Mr.  and  Mrs.  William 
K.  Howard,  Charlie  Farrell,  Lila  Lee,  Constance 
Bennett,  Mervyn  Le  Roy  and  Edna  Murphy,  Lowell 
Sherman  and  Helene  Costello,  Mr.  and  Mrs.  Henry 
King,  and  scores  of  others. 

When  the  Spanish  food  had  been  served,  the  Spanish 
orchestra  went  about  playing  at  different  tables,  and 
Warner  Baxter  asked  them  to  play  Amapola,  his 
favorite  song,  at  which  Louis  Alvarez,  a  handsome 
tenor,  sang  it  most  soulfully. 

Frank  Lloyd  appeared  on  the  scene  after  that,  call- 
ing out,  'We  will  now  be  entertained  by  the  Prickly 
Heat  Quartette!" 

Whereupon  Joe  Cawthorn,  J.  Farrell  Macdonald, 
Edmund  Breese  and  Bobby  North  moved  a  baby  piano 
about  the  place,  from  table  to  table,  amusingly  warb- 
ling Sweet  Adeline  and  other  old  plush -album  favorites, 
in  a  highly  melodious  manner.  The  four  had  been  to- 
gether in  many  a  famous  New  York  show  in  other  days. 

Then  we  all  besought  Joe  E.  Brown  to  recite  Little 
Mousie,  which  he  did  with  huge  success,  remarking 
afterward,  "That's  just  a  hang-over  from  last  night 
at  the  Mayfair."  Then  he  remarked  jocosely,  "All 
money  taken  in  at  this  benefit  will  be  turned  over  to 
the  Stage  Relief  Fund!" 

We  circulated  and  met  James  Rennie,  who  told  us 
that  his  wife,  Dorothy  Gish,  isn't  coming  to  Hollywood 
as  soon  as  she  had  expected,  because  her  sister  Lillian 
has  gone  to  Europe  to  aid  Max  Reinhardt  in  making 
talking  pictures,  and  Dorothy  didn't  feel  that  she 
could  leave  her  mother,  who  is  a  semi-invalid,  without 
one  of  her  daughters  to  see  that  she  is  well  taken  care  of. 

Speaking  of  health,  he  said  that  he  hadn't  been  very 
well  in  England,  and  had  consulted  a  noted  physician. 

"It's  whisky,"  the  doctor  told  Rennie. 

"Oh,  dear  me,"  said  Rennie. 

"Stop  drinking  soda  with  it,"  admonished  the 
doctor. 

The  orchestra  played  for  the  guests  to  dance  on  the 
tennis  court,  and  the  shadows  (Continued  on  page  128) 


92 


SCREENLAND 


The 


Following 
the  Broad- 
way Parade 


Dorothy  Britton 
{"Miss  Universe"),  a 
beauty  contest  winner 
now  adding  grace  and 
beauty  to  the  eighth 
edition  of  Earl  Car- 
roll's "Vanities."  The 
girls  in  Mr.  Carroll's 
revues  are  introduced 
as  the  most  beautiful 
in  the  world,  and  this 
is  no  Barnum-bunk! 


Earl  Carroll's  "Vanities" 

IT  is  really  a  'super-spectacle.'    Carroll  doesn't 
care  what  it  costs — he  gets   his   ideas  across. 
Ideas  that  are  bizarre,  exotic,  perverse,  grandiose, 
but  for  this  reason   all   the  more  unique  and 
memorable. 

This  is  the  eighth  edition  of  this  American  classic, 
and  each  year  it  gets  more  sensational.  All  of  which  I, 
for  one,  endorse — -if  Mr.  Carroll  would  only  cut  out 
the  cheap  vulgarity  that  does  not  improve  his  shows 
and  offends  the  dainty  eyes  of  cops,  who  blush,  it 
seems,  even  in  the  dark. 

The  beautiful  scenes  in  this  edition  of  the  "Vanities" 
must  be  seen.  They  cannot  be  described.  Also,  the 
beauties:  each  one  is  hand-picked,  and  when  Carroll 
introduces  them  through  a  megaphone  as  'the  most 
beautiful  girls  in  the  world,'  it  is  no  Barnum-bunk. 


The  naked  fact  stands  before  you!  Every  girl  in  that 
show  would  cause  me  to  leave  my  first  editions  of 
Dickens  and  Overholt  and  go  a-Maying  with  It. 
(Wake  up!    Well,  where  was  I?) 

It's  three  hours,  anyhow,  of  money's  worth  entertain- 
ment, believe  me.  One  of  the  daintiest  and  most 
beautifully  modeled  dancers  that  ever  came  along 
Broadway  is  Vivian  Fay.  She  is  an  artist  and  a  chim- 
eric dream. 

Then  there  are  Kay  Carroll,  Irene  Ahlberg,  Dorothy  j 
Britton — and — and — and — but  there  I  go  again!  Well, 
it's  like  that! 

As  for  Jimmy  Savvo,  I  don't  see  him.  For  me,  he 
hasn't  a  laugh  in  a  carload  of  his  stupidities.  Jack 
Benny  is  the  real  comedian  of  this  show — and 
Herb  Williams.  Benny  will  be  remembered  by 
picturegoers  as  Master  of  Ceremonies  in  "Hollywood 
Review  of  1929." 


for    October  1930 


93 


Stage 


By 

Benjamin  De  Casseres 


in  Review 


"Who  Cares?" 

This  is  a  well-balanced  revue  put  on  by  the  Satirists 
with  Lambs  Gambolings  and  some  original  matter. 
In  fact,  it's  a  corking  revue  and  deserves  the  hit  it  made. 

The  kernel  of  the  show  is  satire.  The  stage,  tele- 
vision, Chicago  gangdom,  John  Held,  "Sunup,"  Broad- 
way and  "Lysistrata,"  are  some  of  the  things  that  are 
banged — -and  often  with  bare  knuckles. 

"Who  Cares?"  winds  up  with  a  screaming  "Hunting 
Ballet"  done  by  men  dressed  as  women.  It  is  a  rarely 
humorous  bit  of  work. 

Arthur  Hartley,  William  Holbrook,  Peggy  O'Neil, 
Percy  Helton,  Olive  May,  Grant  Mills  and  Sibylla 
Bowhan  are  some  of  the  merrymakers  in  this  full 
evening's  chortle. 

The  Talkies  and  the  Drama 

Curtain,  1930-31! 

Last  year,  somewhere  in  August,  we  were  promised 
a  winter  of  champagne  and  jumbo  lobsters  a  la  Guild, 
a  la  Gest,  a  la  Hopkins,  a  la  LeGallienne,  a  la  Belasco, 
etc.;  but  when  the  Big  Party  was  over  last  spring  I 
found  I  had  been  served  in  about  one  hundred  and 
fifty  meals  with  about  five  real  steaks,  two  or  three 
glasses  of  good  charged  claret,  an  immense  number  of 
synthetic  cocktails,  an  ocean  of  needle-beer,  two  or 
three  dainty  claws  from  a  chicken  lobster,  a  mess  of 
cheese  sandwiches,  and  plates  and  plates  of  stale 
boloney. 

And  that's  the  way  matters  have  gone  every  season 
since  the  old  strumpet  Hope  began  to  spring  eternally 
in  my  somewhat  human  breast;  and  still  for  all  that 
here  I  am  again,  with  some  millions  of  my  fellow  New 
Yorkers,  standing  with  wide-open  mouth,  with  nerves, 
emotions  and  eyes  all  a-tinkle  and  agog  with  expectancy, 
before  the  brand-new  Thousand  and  One  Nights  and 
Matinees  of  the  season  of  1930-31. 

The  little  Alice  in  all  our  souls  prepares  again  to  walk 
through  the  Magic  Mirror  (or,  rather,  the  asbestos 
curtain)  into — -what?  Well,  look  out  for  rabbit-holes, 
open  sewers  and  box-office  traps! 

A  thousand  playwrights  will  once  again  bite  their 
finger-nails  back  stage  on  the  rise  of  a  thousand  cur- 
tains; a  thousand  producers  will  loll  with  well-assumed 
sang-froid  behind  the  arras  and  watch  the  first-night 
pall-bearers  walk  out;  and  the  coroner's  jury  of  critics 
again  will  toss  quip  and  quiddity  up  and  down  the 
aisles  and  in  the  lobbies,  while  Messrs.  Hammond, 
Gabriel  and  Atkinson  will  caw  and  caw  and  for  all 
that  are  not  villains. 

But  all  is  not  hopeless  in  spite  of  the  croakers  and 
the  pall-bearers  and  St.  John  Ervine.    There  also  will 


be  chortles  and  gurgles  of  delight  after  the  curtain  goes 
down  on  the  coming  first  nights. 

It  happens  about  once  out  of  twenty  throws.  A  hit! 
A  hit! — -it's  a  sell-out! — crashing  applause,  the  critics 
turn  their  thumbs  up  (you  can  see  it  by  the  yea-saying 
glint  in  the  eye  of  Brooks  Atkinson  and  the  hosanna 
in  Gilbert  Gabriel's  walk),  the  producer  'phones  Palm 
Beach  for  reservations,  and  the  actors  salute  le  bonDieu. 

But  was  it  art?  you  ask  with  George  Jean  Nathan, 
who  until  then  had  not  said  a  word.  No,  something 
far  better:  it  was  amusing,  interesting,  gripping. 
Art  doesn't  pay — -the  success  of  "Street  Scene" 
proves  it. 

I  am  not  one  of  those  pessimists  who  believes  that 
the  drama  is  going  boom  because  of  the  talkies. 

On  the  contrary,  I  believe  that  the  talkies  are  a 
godsend  to  legitimate  drama  and  real  dramatists. 

The  field  for  non-talkie  {Continued  on  page  122) 


Sidney  Fox  and  Ferdinand  Gottschalk  in  a  scene 
from   "Lost  Sheep,"   hilarious  and  entertaining 
comedy  drama  capably  produced  and  acted. 


94 


SCREENLAND 


Gome 

into  the 

Kitchen 

with 

Anita  Page 


AS  clothes,  complexions  and  figures  become  more 
feminine,  women  become  more  and  more  fem- 
L  inine  in  their  choice  of  avocations.  The  making 
of  cake,  for  instance,  an  accomplishment  that 
dates  back  to  the  days  of  our  great-great  grandmothers 
is  an  achievement  that  is  now  being  listed  among  this 
season's  domestic  attainments. 

History  is  repeating  itself.  Arriving  simultaneously 
with  the  new  style  dresses,  also  copied  from  great-great- 
grandma's  time,  the  desire  for  perfection  in  this  lady- 
like accomplishment  is  both  opportune  and  appropriate. 
The  fashion  for  curves  (in  moderation)  is  making  it 
fitting  to  own  up  to  the  possession  of  an  appetite 
(also  in  moderation).  Therefore,  now  as  then,  girls 
are  invading  the  kitchen  to  learn  the  gentle  art  of 
cake-making. 

There's  a  difference,  however,  between  then  and  now, 
and  the  difference  is  all  in  favor  of  the  modern  girl. 
The  girl  of  great-grandmother's  time  worked  in  a  large 
kitchen  where  many  steps  were  necessary  She  must 
know  how  to  regulate  a  cooking  stove  temperamentally 
inclined.  Her  surroundings  were  drab,  her  cooking 
utensils  few.  Her  cake-making  was  a  slow  and  tedious 
process  of  creaming  and 


sifting  and  beating.  The 
results  were  often  very 
good ;  sometimes  not  so 
good.  In  those  days  it 
was  practise,  not  scien- 
tific knowledge  of  the 
job  in  hand  aided  by 
easy-to-use  materials  and 
all  manner  of  handy 
kitchen  utensils,  that 
made  perfection. 

The  girl  of  today  dons 
a  dainty  frock  and  be- 
ruffled  apron  and  hies  to 
her  sanitary,  compact, 
red  and  white  or  green 
and  white  kitchen  with 
its  electric  range,  gayly 
colored   cooking  dishes, 


ANITA  PAGE'S  FAVORITE  RECIPE 

Lady  Baltimore  Cake 

Blend  one  cup  of  sugar  with  one-half  cup  butter,  butter  substi- 
tute or  Mazola.  Place  sugar  and  shortening  in  mixing  bowl 
and  with  the  back  of  a  spoon  slowly  work  the  fat  into  the  sugar. 
When  smooth,  add  two-thirds  cup  milk  alternately  with  two  cups 
cake  flour  sifted  with  one  heaping  teaspoonful  baking  powder. 
Add  pinch  of  salt,  three  stiffly  beaten  egg  whites  and  one  teaspoon 
vanilla.  Pour  batter  in  two  greased  pans  and  bake  in  moderate 
oven.  About  350  degrees  F  is  needed.  Filling:  dissolve  one 
and  three-fourth  cups  sugar  in  one-half  cup  water  and  cook 
slowly  until  syrup  forms  a  soft  ball.  Remove  from  fire,  pour 
over  three  stiffly  beaten  egg  whites  and  beat  until  mixture 
turns  a  creamy  white  color  and  begins  to  set.  Cool  and  add 
flavoring.  Use  half  this  frosting  for  top  of  cake.  The  remainder, 
with  one-half  cup  each  of  chopped  raisins  and  walnuts,  one-fourth 
cup  each  of  chopped  almonds,  citron,  figs  and  candied  cherries, 
for  the  filling.  This  recipe  with  the  addition  of  spices,  nuts 
and  fruit  may  also  be  used  for  a  loaf  cake  or  for  cup  cakes. 


In  her  colorful  kitchen  with  every  kind  of  con- 
venience  to   make   cooking  a  pleasure,  Anita 
measures  and  combines  materials  for  her  cake- 
making  and  the  result  is  always  just  right. 

every  kind  of  handy  contrivance  devised  to  make  cook- 
ing a  pleasure.  She  has  been  taught  to  measure  properly 
and  combine  her  materials,  to  test  the  temperature  of 
the  oven  until  it  is  'just  so.'  And  she  has  a  wide  choice 
of 'easily  combined  and  partly  prepared  food  materials 
from  which  to  prepare  dishes  that  make  for  variety 
and  fine  flavor.    And  the  result  is  always  just  right. 

Great-great  grandmother  used  good  materials  in  her 
cake  making.  Quantities  of  real  cream  and  butter,  fresh 
eggs  and  plenty  of  them.  I  can  imagine  a  good  cook 
of  an  earlier  generation  peering  through  her  glasses 
and  reading  with  a  sniff  of  contempt  "  'two  eggs,  -one- 
fourth  cup  of  butter' — now  what  kind  of  a  beginning 
is  that  for  a  cake  ?"  But  if  she  could  follow  the  making 
of  Anita  Page's  cake  recipes  given  here  and  note  the 
economy  of  time  and  material,  she  might  wonder  how 
in  the  world  one  could  expect  to  make  anything  fit 
to  eat  in  that  length  of  time  and  with  so  few  ingredients, 

but  she  would  have  to 
admit  it  was  good  cake. 

Hollywood  girls  are 
just  like  all  girls.  They 
like  occasionally  to  go  to 
the  kitchen  and  see  what 
they  can  do.  Anita 
Page,  one  of  the  most 
popular  girls  in  the  film 
colony,  is  one  of  them. 
Anita  is  beautifully  slim 
and  intends  to  remain 
so ;  but  she  loves  to  go 
into  her  kitchen  and 
'whip  up  a  cake'  and 
her  friends  are  all  in  fa- 
vor of  it.  "Good,  whole- 
some cake  in  moderate 
quantities  is  good  for 
you,"  Anita  tells  them. 


for   October  19  3  0 


95 


One  of  Hollywood's  modern  maidens 
gives  a  lesson  in  cake  making 

By  Emily  Kirk 


Anita  adds  the  finishing  touches  to  her  favorite 
cake,  "Lady  Baltimore."  Judging  from  appearances, 
this  cake  lives  right  up  to  its  artistocratic  name. 


"It's  only  very  rich  cakes  and  pastries  that  make  you 
fat." 

Anita's  kitchen  is  just  the  kind  of  trim,  colorful  and 
well-equipped  workshop  you  would  expect  her  to  have. 
A  harmonious,  cheerful  environment  in  which  she  and 
those  who  serve  her  can  work  happily  and  well.  And 
Anita  is  just  as  modern  about  her  cake-making  as  she 
is  about  everything  else.  She  doesn't  believe  in  fussing 
for  hours  doing  a  thing  that  can  be  done  just  as  well 
in  one  quarter  of  the  time.  Cake-making,  like  every- 
thing else,  may  be  a  test  of  efficiency,  she  believes. 
If  you  can  use  one  recipe  for  a  loaf  cake,  for  a  layer 
cake  or  for  cup  cakes  varied  by  the  addition  of  spices, 
nuts,  fruits  and  flavoring — that's  one  way  of  passing 
the  test. 

Anita's  recipes  are  very  simple.     Both  the  Black 


Chocolate  Cake  and  another  which  comes  under  the 
aristocratic  name  of  'Lady  Baltimore  Cake'  are  easy 
to  make. 

Cookies  and  small  cakes  are  an  interesting  part  of 
the  cake  family,  too,  especially  when  there  is  a  young 
brother  in  the  house.  Don't  we  all,  when  we  think  of 
cookies,  recall  days  of  childhood  almost  in  the  same 
breath?  Those  happy,  carefree  days  when  we  went  dash- 
ing in  from  play  to  forage  in  the  cookie  jar  which  was  a 
family  institution  then,  and  we  hope  it  still  is.  And  since 
men  and  women  are  only  little  girls  and  boys  grown  tall, 
we  like  these  little  cakes  almost  as  much  as  in  bygone 
days. 

These  small,  dainty  cakes  are  always  handy  for  the  tea 
hour  when  guests  drop  in  unexpectedly  and  are  especially 
adapted  for  party  menus,  not  for  their  delectableness,  but 
because  they  fit  in  with  almost  any  combination  of  foods, 
and  in  many  instances  seem  to  fill  that  little  deficiency 
making  the  refreshment  plate  complete. 

Anita  likes  to  keep  these  little  cakes  on  hand  because 
they  are  quickly  mixed  and  baked  and  keep  indefinitely. 
That  is,  if  they  can  be  kept  away  from  investigating  mem- 
bers of  her  family,  she  says.  Her  many  varieties  of 
small  cakes  and  cookies  are  year-round  favorites.  She 
serves  them  with  either  cold  or  hot  drinks,  such  as  tea. 
chocolate  or  hot  punch  or  as  a  pleasing  accompaniment 
to  ice  cream  or  fresh  fruit  in    {Continued  on  page  104) 


Anita  contemplates  the  finished  product  and  won- 
ders who'll  be  the  first  to  sample  it.  We'd  like  to 
be  in  on  that.  We  always  did  like  cake. 


m 


96 


SCREENLAND 


A  new  blonde  on  the  Hollywood  horizon — Jean 
Harlow,  who  supplies  the  entire  feminine  interest 
in  the  long-heralded  "Hell's  Angels."    And  such 
human  interest! 

Mr.  and  Mrs.  Eddie  Cantor  in  Hollywood.  Eddie, 
who  is  making  his  first  singing-talking  feature  pic- 
ture, "Whoopee,"  insists  that  his  retirement  from 
the  stage  is  complete. 


HOT  from 

Extra!  Extra!  All  the  New  Mergers,  Murmurs, 


CONSTANCE  BENNETT  is  reported  engaged 
to  Lew  Ayres.  Constance,  most  glamorous  of  the 
three  beautiful  Bennetts,  has  been  married  and 
divorced.    Lew,  one  of  the  newest  boys  in  pic- 
tures, appears  with  Constance  in  "Common  Clay." 

+    +  + 

The  film  colony  seem  to  be  going  in  for  baby  Austin 
cars  in  a  big  way.  Buddy  Rogers  and  his  brother  have 
one ;  so  have  Alan  Crosland,  Winnie  Lightner,  and  many 
others. 

Cliff  Edwards  bought  one  and  ordered  another;  "one 
for  each  foot,"  he  explained. 

Gary  Cooper  hasn't  taken  to  it  yet.  Maybe  he  feels 
that  his  six-feet-plus  and  a  baby  Austin  don't  belong. 
And  maybe  he's  right. 

+    +  + 

The  Malibu  colony,  which  houses  so  many  screen  stars 
extends  over  such  a  long  stretch  of  beach  that  some 
means  of  transportation  had  to  be  evolved.  The  road 
that  runs  back  of  the  houses  is  so  narrow  and  so  dusty 
that  regular  cars  are  a  great  nuisance,  so  someone 
thought  that  bicycles  might  be  handy  and  at  the  same 
time  a  help  in  retaining  that  girlish,  or  boyish,  figure.  A 


few  of  the  players  went  in  for  them,  including  Lila  Lee 
and  Gertrude  Olmsted.  That  is,  Lila  did  before  she 
went  to  the  desert  for  a  rest.  But  now  that  the  Austin 
cars  are  upon  us  the  bicycles  will  have  to  take  a  back  seat. 
This  baby  Austin  thing  is  an  epidemic. 

+    +  + 

James  Hall  is  another  who  has  succumbed  to  the 
charms  of  Baby  Austin.  The  reason  he  fell,  he  says,  is 
because  they  play  such  cute  little  tricks.  He  saw  the 
driver  of  a  Cadillac  put  out  his  arm  for  a  left-hand  turn 
and  a  baby  Austin  came  along,  ran  right  up  his  arm  and 
bit  him ! 

+    +  + 

Dick  Barthelmess  made  a  hit  with  several  members  of 
the  "Adios"  cast  one  morning  on  location.  A  strip  of 
canvas,  called  by  courtesy  a  rug,  was  spread  on  the 
ground.  Several  chairs  had  been  placed  upon  it  and 
one  by  one  they  were  taken  by  players  resting  between 
scenes.  When  Dick  arrived  on  the  set  someone  whose 
duty  it  is  to  see  that  all  avenues  are  cleared  for  the  com- 
fort of  the  star  bustled  ahead  and  invited  everyone  to 
vacate.  "This  is  Mr.  Barthelmess'  dressing-room,"  the 
man  said  seriously,  though  not  unpleasantly.    Dick  was 


for    October  1930 


97 


Another  famous  actress  goes  Hollywood!  Marjorie 
Rambeau,  for  many  years  one  of  Broadway's  best- 
loved  players,  will  make  her  talking  picture  debut 
in  "Her  Man"  for  Pathe. 


Leslie  Howard  and  Douglas  Fairbanks,  Jr.  who  met 
for  the  first  time  on  the  set  of  "Outward  Bound," 
are  all  excited  over  a  new  copy  of  Vanity  Fair  in  which 
they  both  have  articles. 


Hollywood 

Parties  and  Gossip  of  the  Screen  Colony 


close  enough  to  hear  and  sang  out,  "Who  said  so?  You 
boys  stay  where  you  are.  I  don't  want  any  of  that  star 
stuff  around  me." 

+    +  + 

Going  back  to  Baby  Austins,  you  should  see  Winnie 
Lightner's.  It  has  Rolls  Royce  lights,  the  loudest  horn 
she  could  buy,  and  a  radio.  She  is  now  considering  a 
yellow  paint  job  with  black  stripes.  "Then,  all  it  will 
need  will  be  hot  and  cold  running  water,"  says  Winnie. 
+    +  + 

All  is  not  snow  that  glistens,,  with  apologies  to  Bill 
Shakespeare — but  Charles  Bickford  knows  it's  true.  A 
flock  of  huskies  know  it,  too.  The  most  beautiful  snow 
scene  covers  a  Warner  Brothers'  stage  where  Charles  is 
making  "River's  End,"  but  while  the  'snow'  fooled  the 
camera  it  didn't  fool  the  human  and  canine  respirational 
glands.  Under  the  lights,  the  snowy  atmosphere  was  a 
revelation  to  the  string  of  dogs  engaged  to  carry  the  sleds. 
Charlie  Bickford  was  all  done  up  in  a  fur  coat,  cap, 
gloves,  and  fur  lined  boots.  The  first  thing  he  knew  he 
had  lost  twelve  pounds. 

+    +  + 

Little  birds  woke  us  up  early  this  morning  to  tell  us 
about  Greta  Garbo.   Without  benefit  of — hold  everything 


— censors,  "Anna  Christie"  is  now  being  remade !  But  for 
German  audiences,  a  German  version.  What  a  break ! 
Ach  du  lieber  Greta !  The  Continentals  will  see  a  new 
"Anna  Christie,"  a  different  make-up,  and  it  will  be  full 
of  swear  words  and  other  uncouth  expressions  such  as 
Anna  in  real  life  might  use.  Many  Garboites  are  sailing 
on  the  first  liner  for  Germany. 

+    +  + 

Ben  Lyon  waited  around  so  much  during  the  last  hectic 
days  of  his  engagement  to  Bebe  Daniels  when  he  called  to 
take  her  home  from  innumerable  showers  that  he  decided 
to  give  the  girls  a  glimpse  of  the  other  side  of  the  pic- 
ture. He  gave  Hoot  Gibson  a  'lingerie'  shower  just  be- 
fore his  marriage  to  Sally  Eilers !  The  girls,  then,  had 
to  call  for  the  boys  to  take  them  home  and  wait  around 
outside  while  the  last  farewells  were  being  said. 

+    +  + 

Madame  Schumann-Heink,  the  grand  old  lady  of 
song  and  opera,  is  to  be  canned.  That  is,  to  be  preserved 
for  all  time  in  the  talkies.  It  was  Elsie  Janis'  idea. 
Elsie  has  a  sort  of  'butting  in'  job  with  Paramount,  to 
quote  Miss  Janis,  and  it  is  one  of  her  ambitions  to  do  a 
story  with  Madame  Schumann-Heink.    The  Madame 


98 


SCREENLAND 


Director  Alan 
Crosland  in  his 
midget  limou- 
sine. Natalie 
Moorhead  and 
Victor  Varconi 
comprise  the 
overflow  while 
they  discuss 
with  Mr.  Cros- 
land scenes 
from  "The  Gay 
Caballero," 
which  he  di- 
rects. 


Ernestine  will  sing  and  be  the  good  influence  in  the  story, 
the  love  interest  to  be  supplied  by  handsome  juveniles 
and  ingenues. 

+    +  + 

Some  people  have  all  the  luck.  Louis  Bromfield  has 
actually  talked  a  film  producer  into  the  notion  that  a 
creative  artist  is  not  a  machine  and  cannot  write  to  the 
tick  of  a  time  clock.  He's  going  to  Paris  with  Mrs. 
Bromfield  and  there  he  will  develop  an  idea  he  has  for 
Ronald  Colman.  It  will  probably  be  Ronnie's  next  pic- 
ture after  the  one  just  completed  for  him  by  Frederick 
Lonsdale.  Samuel  Goldwyn,  need  we  add,  will  be  the 
producer.  I  imagine  Mr.  Bromfield  has  had  some  help 
in  putting  his  idea  across  with  Mr.  Goldwyn  in  the  per- 
son of  Florenz  Ziegfeld.  The  first  thing  Mr.  Ziegfeld 
said  when  he  came  to  Hollywood  was  that  screen  pro- 
ducers would  have  to  get  over  the  idea  that  creative  work 
could  be  done  like  building  a  set,  under  the  whip  of  the 
time  clock ;  and  Mr.  Ziegfeld  kept  on  saying  it.  So  have 
a  good  many  other  people,  but  coming  from  Mr.  Ziegfeld 
it  meant  something. 

+    +  + 

Kay  Francis  isn't  going  to  wear  her  boyish  bob  any 
longer.  Her  new  coiffure  is  fluffed  out  a  little.  In  her 
next  picture  "The  General,"  you  will  see  what  it's  like. 

+    +  + 

Janet  Chandler  signed  a  contract  with  Metro-Goldwyn- 
Mayer  which  may  be  the  beginning  of  an  interesting 
career.  Who  is  Janet  Chandler?  Well,  if  you  fre- 
quented the  Ambassador,  the  Montmartre,  George 
Olsen's  Cotton  Club  or  any  rendezvous  in  Los  Angeles 
where  there  was  a  dance  floor,  you  would  know.  Janet 
is  a  University  of  Southern  California  girl,  a  very  spirit- 
nelle  blonde  who,  at  the  end  of  a  dancing  contest,  makes 
every  other  girl  on  the  floor  look  like  a  wilted  poppy 
while  she  appears  as  fresh  and  cool  as  an  Easter  lily. 
She  reminds  one  of  that  pure  and  graceful  flower,  too: 
tall  and  very  slender,  with  hair  the  color  of  spun  gold, 


milk  white  skin,  cheeks  like  wild-rose  petals,  and  a 
radiant  smile.  If  Janet  dances  at  any  impromptu  con- 
test it  is  a  rare  thing  for  anyone  else  to  carry  off  the 
first  prize.  We  saw  her  at  the  Cocoanut  Grove  one 
evening  when  a  table  of  celebrities  including  Norma 
Shearer,  Irving  Thalberg,  Mr.  and  Mrs.  Louis  B.  Mayer, 
Mr.  and  Mrs.  Sol  Wurtzel  and  others  were  asked  to 
judge  the  winners.  Out  of  a  dozen  couples,  all  of  whom 
had  won  many  cups,  Janet  and  her  partner  were  chosen. 
That  was  several  months  ago,  and  it  may  be  that  Janet 
owes  her  present  contract  to  the  impression  she  made 


William  Janney,  left,  shows  how  an  American  would 
look  in  the  top  hat  of  an  Englishman,  while  Claude 
Allister—oh,  hurry  and  change  hack,  boys! 


for    October  1930 


101 


Id  on 


VP** 


Every  woman  must  face 
her  own  particular  C(tot£'lij?~[k&fc 


SMOOTH  SKIN  instantly 
attracts,  say  45  Hollywood 
directors  .  .  . 

A GIRL'S  lovely  skin  is  an  instant 
attraction.  A  whole  audience 
is  swept  by  enthusiasm  when  the 
close-up  brings  the  radiant  loveli- 
ness of  a  star  near  to  them. 

And  every  woman  must  meet  the 
scrutiny  of  close  appraising  eyes. 
Does  your  skin  quicken  the  heart 
with  its  loveliness  like  Clara  Bow's, 
Betty  Bronson's,  Janet  Gaynor's? 
It  can. 

For  the  lovely  screen  stars  have 


discovered  a  sure  way  to  complexion 
beauty.  Clara  Bow,  the  bewitching 
little  Paramount  star,  beguiling  Betty 
Bronson,  Janet  Gaynor,  the  beloved 
Fox  star,  are  among  511  of  the  521 
important  actresses  in  Hollywood 
who  jealously  guard  their  smooth 
skin  with  Lux  Toilet  Soap.  Their 
enthusiasm  has  made  it  official  in 
all  studio  dressing  rooms. 

Hollywood —  Broadway — Europe 

the  favorite  beauty  care 

Not  only  the  stars  in  Hollywood, 
but  the  famous  Broadway  stage  stars, 
too,  have  enthusiastically  adopted 
this  gentle  beauty  care.  So  devoted 


are  they  to  this  fragrant  white  soap 
that  it  is  in  71  of  the  74  legitimate 
theaters  in  New  York.  And  even  in 
Europe,  the  beautiful  screen  stars 
insist  on  this  soap  for  their  beauty. 


MARY  BRIAN 

beloved  Paramount  star,  says:  "It's  certainly 
a  wonderful  soap!  I  always  use  it!" 


98%  of  the  lovely  complexions  on  the  screen  and  ra- 
diant skin  of  girls  everywhere  are  cared  for  with  .  .  , 


Lux  Toilet  Soap-10{ 


102 


SCREENLAND 


Ask  Me 

An  Answer  Department  of  Information 
about  Screen  Plays  and  Players 


Miss  Vee  Dee  will  be  glad  to  answer  any  questions 
you  may  care  to  ask  about  pictures  and  picture 
people.  If  you  wish  an  answer  in  the  Magazine, 
please  be  patient  and  await  your  turn;  but  if  you 
prefer  a  personal  reply,  please  enclose  a  stamped 
addressed  envelope.  Address:  Miss  Vee  Dee, 
SCREENLAND  Magazine,  45  West  45th  Street, 
New  York  City, 


Shamrock,  Hamilton,  Ontario.  Here 
is  a  colleen  without  the  usual  yen 
to  crowd  the  Hollywood  gate-ways. 
Congratulations  and  my  hand,  so 
pat  yourself.  Some  of  us  girls  must  stay 
behind  to  help  fill  the  movie  palaces.  The 
object  of  your  interest,  Paddy  O'Flynn, 
was  born  in  Pittsburgh,  Pa.  He  doesn't 
give  his  age  but  I'd  say  about  25  sum- 
mers or  winters.  He  was  raised  in  Can- 
ada and  at  a  very  early  age  went  on  the 
stage.  He  began  his  screen  work  in  1926. 
Paddy  has  brown  curly  hair,  blue  eyes,  is  5 
feet,  10^  inches  tall  and  weighs  150  pounds. 

Buss  of  Cape  Cod.  Was  Buddy  Rogers 
in  aviation  training  during  the  World 
War?  He  was  born  Aug.  13,  1905,  and 
1914  was  the  beginning  of  the  Big  Fight, 
so  just  get  the  brain  to  buzzing  on  that 
and  figure  it  out.  Sue  Carol  was  born 
Oct.  30,  1908,  in  Chicago,  111.  Her  first 
screen  try-out  was  with  Douglas  McLean 
in  "Soft  Cushions."  Her  latest  release  is 
"She's  my  Weakness"  with  Arthur  Lake, 
for  Radio  Pictures. 

Doris,  Brooklyn.  I  treasure  all  the  kind 
things  you  say  about  my  department  and 
drink  in  the  compliments  to  the  last  drop 
and  that  goes  down,  too.  You  can  write  to 
Rex  Bell  at  Fox  Studios,  1401  No.  West- 
ern Ave.,  Hollywood,  Cal.  Sue  Carol  ap- 
pears with  Grant  Withers,  Edna  Murphy, 
Adamae  Vaughn  and  Eddie  Phillips  in 
"Dancing  Sweetie,"  a  recent  Warner  Bros, 
picture.  Address  James  Murray,  Univer- 
sal Studios,  Universal  City,  Cal.  Kathryn 
Crawford  plays  with  him  in  "Hideout." 

A  New  Friend  from  Old  Hickory,  Tenn. 
So  you  like  my  hysterical  hodge-podge  of 
information  and  want  some  of  it.  Gary 
Cooper's  latest  films  are  "Only  the  Brave" 
with  Mary  Brian  and  Philipps  Holmes ; 
"The  Texan"  with  Fay  Wray ;  and  "A 
Man  from  Wyoming"  with  June  Collyer 
and  Regis  Toomey.  Gary  gets  his  fan  mail 
at  Paramount  Studios,  5451  Marathon  St., 
Hollywood,  Cal.  Colleen  Moore's  last  pic- 
ture for  First  National  was  "Footlights  and 
Fools"  with  Fredric  March  and  Raymond 
Hackett.  She  has  not  announced  any  new 
picture  plans. 

Eddie,  Hanover,  Pa.  You'd  adore  my 
photograph  standing  up,  would  you?  Some- 
one ivould  want  an  upright  when  I'm  just  a 
baby  grand.  John  Mack  Brown's  next  pic- 
ture is  "Billy,  the  Kid."  William  Powell 
appears  in  "Shadow  of  the  Law"  with 
Marion  Shilling  and  Regis  Toomey :  and  in 
"For  the  Defense"  with  Kay  Francis. 

Frances  G.  of  Detroit.  You  saw  your 
favorite  in  "Road  House"  and  that  was  the 
end  of  him  ?  Lack-a-day  and  many  of 
them.  Gary  Cooper  first  attracted  atten- 
tion on  the  screen  in  "The  Winning  of 


By  Miss  Vee  Dee 


Constancy  Bennett  is  soaring 
to  success.  She  hurries  from 
one  picture  to  another  and 
from  one  studio  to  another. 
Her  next  is  "Sin  Takes  a  Holi- 
day" for  Pathe. 

Barbara  Worth"  with  Vilma  Banky  and 
Ronald  Colman,  as  far  back  as  1926. 
Dolores  Costello  is  5  feet,  4  inches  tall  and 
has  blonde  hair  and  blue  eyes.  Constance 
Talmadge  has  golden  hair,  brown  eyes,  is 
5  feet,  5  inches  tall  and  weighs  120  pounds. 
Lane  Chandler  is  6  feet,  3  inches  tall  and 
has  red  hair  and  blue  eyes. 

T.  J.  J.,  Dayton,  Ohio.  If  Clara  Bow 
hasn't  any  definite  plans  for  marriage,  you'd 
like  to  put  in  a  bid  as  the  future  bride- 
groom. You  and  who  else?  Here  are  a 
few  of  the  sister  teams  in  real  life : 
Dolores  and  Helene  Costello,  Sally  O'Neil 
and  Molly  O'Day,  Loretta  Young,  Sally 
Blane  and  Polly  Ann  Young,  and  Shirley 
Mason  and  Viola  Dana.  Conrad  Nagel's 
wife  is  Ruth  Helms,  a  non-professional. 
Do  I  know  what  make  of  car  Joan  Craw- 
ford drives?  Even  with  a  Rollys-Royce  at 
her  disposal,  Joan  says  she  prefers  the 
new  Ford  that  friend  husband  gave  her. 


D.  V.  S.  of  England.  So  my  famous  an- 
swers have  made  a  hit  in  London?  I  take 
up  my  pen  for  merry  old  England.  What- 
ho!  I'm  the  main  event  in  the  "ASK 
ME"  department.  I  receive  many  letter:, 
from  fans  who  tell  of  their  remarkable  re- 
semblances to  their  screen  favorites.  I'm 
sorry  I've  lost  track  of  Mary  of  Pitts- 
burgh, who  is  the  living  image  of  Man- 
Brian,  or  I'd  be  glad  to  deliver  your  mes- 
sage. Your  fellow  countryman,  Clive 
Brook,  appears  with  Ruth  Chatterton  in 
"The  Laughing  Lady"  and  "The  Better 
Wife."  Another  famous  son  of  England, 
Ralph  Forbes,  plays  with  Miss  Chatterton 
in  "The  Lady  of  Scandal." 

Ethel  L.  C,  Minneapolis.  To  make  a 
long  story  short,  as  the  aviator  said  when 
he  knocked  off  the  church  steeple,  we  no 
longer  have  a  fan  club  department  or  I'd 
be  glad  to  make  the  announcement  yon 
suggest  about  Richard  Dix.  Understand, 
we're  strong  for  Richard  and  spend  many 
a  hard-earned  two-bits  to  see  his  pictures, 
but  space  in  my  department  forbids  fan 
club  revelations. 

Ruth  W.,  Kokomo,  hid.  Unaccustomed 
as  I  am  to  such  delightful  bouquets  a> 
have  been  coming  my  way,  I'll  not  be  mis- 
led by  the  wholesome  flattery  but  stick  to 
the  straight  and  narrow  that  leads  to  my 
mail  box.  Jobyna  Ralston  is  the  wife  of 
Richard  Arlen  and  hasn't  made  a  picture 
for  some  time.  She  is  5  feet,  1  inch  tall 
and  has  dark  brown  hair  and  blue  eyes. 
Neil  Hamilton  was  born  Sept.  9,  1899,  in 
Lynn  Mass.  Conrad  Nagel  was  born  in 
Keokuk,  Iowa,  on  March  16,  1897.  John 
Mack  Brown  played  opposite  Mary  Pick- 
ford  in  "Coquette"  and  Charles  Rogers  op- 
posite her  in  "My  Best  Girl." 

Betty  B.,  Hamilton,  Ontario.  This  is 
positively  the  last  word — why  is  an  actor 
with  a  mustache?  That's  a  swell  question 
but  what's  the  answer?  You  can  write  to 
Gilbert  Roland  and  Charles  Bickford  at 
Metro-Goldwyn-Mayer  Studios,  Culver 
City,  Cal.  Nick  Stuart  at  Fox  Studios, 
1401  No.  Western  Ave.,  Hollywood,  Cal. 
Gilbert  Roland  played  with  Norma  Tal- 
madge in  "New  York  Nights,"  produced 
by  United  Artists. 

Nan,  New  Orleans.  If  I  would  try  tr> 
give  you  the  name  of  Hollywood's  most 
prominent  directors  I'd  have  the  whole 
bunch  on  my  trail — but  if  you'll  drop  me  a 
personal  line  and  repeat  the  question,  I'll 
give  you  a  list  as  long  as  you  like.  H.  B. 
Warner  is  one  of  the  most  sought-after 
players  in  the  film  business.  His  long 
stage  training,  his  clearly  understood  voice 
and  pleasing  manner,  have  made  him  a 
great  favorite  with  the  fans.  His  latest 
picture  is  "Wild  Company"  with  Frank 
Albertson,  Sharon  Lynn  and  Jovce  Comp- 
(Continued  on  page  112) 


for   October  1930 


103 


Dr.  Shirley  W.  Wynne 

Commissioner  of  Health  of  New  York  City 

says: 

Colgate's  is  most 
efficient  cleanser 


RESPONSIBLE  for  the  health  of  six  million  Americans, 
..  Dr.  Shirley  W.  Wynne,  Health  Commissioner  of  New 
York  City,  examined  reports  of  laboratory  tests  comparing 
Colgate's  with  other  prominent  dentifrices — and  of  all  those 
examined,  he  singles  out  Colgate's  Ribbon  Dental  Cream  as 
"the  most  effective  cleanser."  His  approval  is  undeniably 
impressive.  Interested  as  he  is  in  all  branches  of  public 
health,  Dr.  Wynne  recently  made  a  careful  study  of  the 
difference  in  dentifrices.  He  examined  tests  made  by  some 
of  America's  greatest  analytical  chemists. 

Dr.  Wynne's  conclusion  is  based  on  the  recent  research 
of  such  eminent  authorities  as  Dr.  Hardee  Chambliss,  Dean 
of  the  School  of  Sciences,  Catholic  University 
of  America,  Washington,  D.  C. ;  Dr.  Philip 
B.  Hawk,  M.S.,  Yale,  Ph.D.,  Columbia; 
Jerome  Alexander,  B.  S.,  M.  S.,  internation- 
ally famous  among  consulting  chemists  and 
chemical  engineers ;  Dr.  H.  H.  Bunzell,  Ph.D., 
University  of  Chicago,  and  others,  retained  to 
make  analytical  tests  and  report  their  findings. 

All  agree  that  Colgate's  is  supreme  because 
of  its  penetrating  foam.  This  active  agent 
flushes  out  the  decaying  food  particles  which 
lodge  between  the  teeth.  Colgate's  thus 
cleanses  completely  —  in  a  way  impossible 
with  sluggish  tooth  pastes  which  merely 
polish  the  outer  surfaces  of  the  teeth. 


Dr.  Wynne  says: 

"The  sole  function  of  a  dentifrice  is  to  thoroughly 
cleanse  the  teeth  and  gums.  To  be  an  effective 
cleanser  a  dentifrice  must  have  low  surface  ten- 
sion in  solution.  Low  surface  tension  is,  therefore, 
the  true  scientific  indication  of  cleansing  power 
on  the  part  of  a  dentifrice  in  actual  use. 

"I  have  examined  the  reports  of  laboratory  tests 
made  by  eminent  chemists  who  have  compared 
Colgate's  with  other  prominent  dentifrices  and  I 
find  that  Colgate's  rates  the  lowest  surface  ten- 
sion. This  means  that  Colgate's  is  the  most 
cient  cleanser  of  those  examined  because  it  gets 
into  the  crevices  between  the  teeth,  thus  removing 
and  flooding  away  decaying  foods.  " 


The  price  is  important — but  the 
quality — not  the  price — has  held 
Colgate  leadership  for  30  years. 


SHIRLEY  W.  WYNNE,  M.  D  ,  Dr.  P.  H. 

Commissioner  of  Health,  New  York  City;  M.  D., 
Columbia  University;  Member  American  Medical 
Association;  Prof.  Preventive  Medicine,  N.  Y. 
Polyclinic  Medical  School  and  Hospital;  Prof.  Public 
Health,  Fordham  School  of  Sociology  and  Social 
Service;  Recognized  internationally  as  an  authority 
on  matters  of  Public  Health. 


104 


SCREENLAND 


COME  INTO  THE  KITCHEN  WITH  ANITA  PAGE  —  Continued  from  page  95 


season.  Small  cakes  and  cookies  are  divid- 
ed into  three  classes :  cup  cakes,  drop  cakes 
or  cookies  and  Anita  gives  you  'samples' 
of  each. 

BLACK  CHOCOLATE  CAKE 

In  a  cooking  vessel  place  one-half  cup 
cocoa,  one-half  cup  brown  sugar  and  one- 
half  cup  cold  water.  Blend  together  and 
let  cook  gently  until  thick.  '1  ake  from 
fire,  and  while  mixture  is  hot,  add  one- 
fourth  cup  butter,  and  one  cup  brown 
sugar.  Mix  well  and  add  one  egg  without 
beating.  Then  add  alternately,  one-half 
cup  milk  and  two  cups  of  cake  flour.  Mix 
until  smooth,  then  add  one-half  teaspoon 
baking  soda  dissolved  in  two  tablespoons 
boiling  water.  Add  one  teaspoon  vanilla, 
pour  into  pan  and  bake  in  moderate  oven. 
This  cake  may  be  made  in  a  few  minutes 
and  is  delicious.  It  may  be  baked  as  a 
loaf  cake,  in  a  square  shallow  pan  to  be 
cut  in  squares  or  in  two  pans  for  a  layer 
cake.  Fudge  frosting :  Cook  together 
one-half  cup  cocoa,  one  and  one-half 
cups  sugar,  one-half  cup  milk  and  one 
tablespoon  butter.  Let  boil  until  mixture 
'hairs'  when  poured  from  spoon.  Let 
stand  a  few  minutes,  then  beat  until  cool 
enough  to  spread.  Thin  with  a  little 
cream  or  warm  water  if  necessary. 

SWEETHEART  COOKIES 
Cream   together   two-thirds   cup  butter 
and  one  cup  sugar.    One  teaspoon  of  boil- 


ing water  will  hasten  the  process  of 
creaming.  Then,  when  the  mixture  is 
very  light  break  in  two  eggs,  one  at  a 
time,  and  beat  well.  Stir  in  three  cup- 
fuls  pastry  flour  sifted  with  three  tea- 
spoons baking  powder.  Turn  onto  a  well 
floured  pastry  board  and  knead  lightly, 
working  in  more  flour  as  required.  When 
the  dough  is  smooth  and  does  not  stick 
to  the  hands  place  in  bowl,  cover  with 
towel  and  let  stand  two  hours.  Roll  to 
one-fourth  inch  in  thickness  and  cut  with 
small  heart-shaped  cutter  or,  if  to  be 
served  at  a  bridge  party,  cut  in  shapes 
of  hearts,  clubs  and  spades.  Place  on  pre- 
pared baking  sheets  and  bake. 

NUT  SPICE  CAKES 

To  recipe  for  Lady  Baltimore  Cake  add 
one  teaspoon  cinnamon,  one-half  tea- 
spoon cloves,  one-half  teaspoon  nutmeg 
and  one-half  cupful  nuts.  Omit  vanilla. 
Put  batter  in  greased  muffin  pans  filling 
them  about  one-half  full.  Bake  about 
fifteen  minutes.  Cover  with  an  icing 
made  from  one  and  one-third  cupfuls 
brown  sugar  and  one-half  cup  thin  cream. 
Cook  to  soft  ball  stage,  cool  slightly  and 
beat  until  creamy  and  of  consistency  to 
spread. 

MARGUERITES 

Beat  two  eggs  slightly  and  add  one  cup 
brown    sugar,    one-half    cup    flour,  one- 


fourth  teaspoon  baking  powder,  one-third 
teaspoon  salt,  one-half  cup  nut  meats  cut 
in  small  pieces,  one-half  cup  All-Bran. 
Bake  in  a  moderate  oven  ten  to  fifteen 
minutes. 

DROP  COOKIES 

Cream  one-half  cup  shortening  with  one 
cupful  sugar.  When  well  blended  add  two 
beaten  eggs.  Mix  and  sift  two  and  one- 
half  cups  flour  with  two  teaspoons  baking 
powder  and  one- fourth  teaspoon  salt  and 
add  alternately  with  one-fourth  cup  milk 
to  the  first  mixture.  Flavor  and  beat  well. 
Drop  from  spoon  on  greased  pans  and  bake 
about  fifteen  minutes.  These  cookies  are 
much  improved  by  the  addition  of  nuts 
or  raisins,  dates  or  figs  may  be  used. 

HERMITS 

Cream  two-thirds  cup  shortening,  add 
one  and  one-third  cup  brown  sugar  gradu- 
ally, then  two  beaten  eggs.  Add  three- 
fourths  teaspoon  soda  dissolved  in  one 
tablespoon  hot  water.  Then  add  two  and 
one-half  cups  flour,  one-fourth  teaspoon 
nutmeg,  one  teaspoon  cinnamon,  one- fourth 
teaspoon  cloves  and  one-half  teaspoon  salt. 
Last  stir  in  one  cup  chopped  nuts  and 
one  cup  raisins.  Drop  by  spoonsful  on 
greased  baking  sheet  and  bake  fifteen 
minutes. 


THE  RE-"BIRTH  OF  A  NATION" — Continued  from  page  29 


will  see  the  quaint  and  touching  scene 
where  the  Little  Sister  trims  her  home- 
spun dress  in  'southern  ermine'  for  the 
homecoming  of  the  beloved  brother.  Where 
Lillian  Gish  and  Henry  Walthall  coo  their 
love  scenes,  we  will  hear  the  twitter  of 
birds  in  the  forest — oh,  shades  of  Gilbert 
and  Garbo ! 

It  will  all  be  there. 

We  will  have  a  prologue  and  an  epilogue 
with  a  story  running  through  it  in  which 
D.  W.  Griffith  will  appear  with  Walter 
Huston,  and  will  tell  why  he  came  to 
make  "The  Birth  of  A  Nation"  in  the  first 
place.  There  will  be  scenes  enacted  from 
his  own  childhood,  where,  as  a  small  boy 
of  five,  he  hid  behind  the  horse-hair  sofa 
in  the  home  of  his  father,  a  colonel  in  the 
Southern  army,  and  listened  to  the  harrow- 
ing tales  of  the  Ku  Klux  Klan  and  the 
carpet  baggers,  which  he  was  later  to  put 
into  his  picture.  The  epilogue  will  show 
the  new  south  arising  from  the  ashes  of 
the  old,  and  we  will  all  arise  and  sing 
the  Star-Spangled  Banner  at  the  end! 

Sixteen  years  will  bring  beloved  players 
back  to  us. 

Lillian  Gish,  now  an  actress  of  estab- 
lished reputation  appearing  on  the  stage, 
who  has  been  absent  from  the  movie 
houses  except  for  her  one  talker,  "One 
Romantic  Night,"  will  appear  at  her  early 
best. 

Mae  Marsh,  little  sister,  now  Mrs. 
Louis  Lee  Arms,  a  matron  in  a  fashion- 
able suburb  of  Pasadena  with  'little  sis- 
ters' of  her  own,  will  wring  tears  from 
us  again. 

Spottiswood  Aiken,  the  gallant  Colonel 
Cameron,  now  a  white-haired  old  man. 

Donald  Crisp,  who  played  General  Grant, 
and  acted  as  assistant  director,  now  a  di- 
rector for  Pathe. 


Mary  Alden,  the  mulatto  beauty,  now  a 
concert  singer. 

Joseph  Hennaberry,  unforgettable  as 
Abraham  Lincoln,  now  an  independent 
producer. 

Henry  Walthall,  the  Little  Colonel,  still 
in  movies,  who  has  just  finished  his  latest 
talkie,  "The  Phantom  of  the  House"  with 
Nancy  Welford. 

Walter  Long,  as  Gits,  the  colored  soldier, 
now  acting  for  RKO.  Ralph  Lewis, 
who  played  the  part  of  the  elder  Stoneman, 
now  with  Paramount;  Elmer  Clifton  as 
the  younger  Stoneman,  now  a  director  for 
Tech- Art. 


Two  of  the  original  cast  are  dead.  They 
are  Wallace  Reid,  who  played  the  black- 
smith who  hurled  the  negro  out  of  the 
smithy  window,  and  George  Seigmann, 
who  was  Lynch,  the  mob  leader. 

And  it  brings  back  D.  W.  Griffith  at  his 
best.  He  has  recently  finished  his  "Abra- 
ham Lincoln,"  and  will  undoubtedly  re- 
make others  of  his  masterpieces  for  the 
talkies. 

So  get  out  the  old  handkerchiefs  and  be 
prepared  to  weep  as  only  D.  W.  Griffith 
can  make  us  weep,  with  joyous  abandon — 
make  us  red-nosed  and  like  it! 


Even  George  Bernard  Shaw  (center)  is  interested  in  talkies!  He 
is  shown  with  members  of  Basil  Dean's  staff  at  the  British  Lion 
Studios,  England. 


for    October   19  3  0 


105 


A 


charm  that  is 
recognized 
everywhere 


Anita  Page 
MetroGoldwyn-Mayer 


rw  7 


What  a  glorious  thing  it  is  to  face  each 
day,  secure  in  the  confidence  that  you 
are  always  attractive!  That  you  can 
wear  the  alluring  new  fashions,  so  ador- 
ably  feminine,  with  the  grace  and  charm 
for  which  they  were  designed ! 

. .  .Yet  for  every  one  girl  who  possesses 
a  naturally  fashionable  figure  there  are 
hundreds  who  diet  and  worry  to  con* 
trol  their  weight — often  unwisely. 

The  main  danger  with  most  reduc 
ing  diets  is  that  they  are  unbalanced. 
In  the  desire  to  reduce,  important  food 
elements  are  frequently  omitted. 

Nearly  all  reducing  diets  lack  roughage. 
When  the  amount  of  food  is  cut  down, 
there  is  often  insufficient  bulk  to  assure 
proper  ehmination. 

As  a  result  poisons  are  formed 
may  sweep  through  the  sys' 
tern,  causing  headaches,  list' 
lessness,  dizziness,  sallow  com' 
plexions  and,  sometimes,  seri' 
ous  disease. 

Add  two  tablespoons  of 
Kellogg's  All'Bran  daily  to 
any  reducing  diet  and  you  can 
be  sure  of  getting  enough  bulk 
or  roughage  to  guarantee 
proper  elimination. 

Kellogg's  All-Bran  is  not 
fattening.  But  it  does  contain 


These 


RELIEVES  CONSTIPATION 

ALL-BRAN 


KELLOGG  COMPANY 


iron,  which  helps  prevent  dietary  anemia. 
Iron  is  the  natural  source  of  beautiful  red 
color  for  the  lips  and  complexion. 

Add  it  to  any  reducing  diet — in  fruit 
juices;  sprinkled  over  cereals  or  salads — 
in  clear  soups — in  bran  muffins  or  bread. 
Eat  it  as  a  cereal  with  milk.  Kellogg's  All- 
Bran  is  delightfully  flavored 
— a  delicious  food  that  helps 
to  build  health  every  time  you 
eat  it.  Improved  in  texture  and 
taste.  It  is  a  food  that  pre- 
vents  the  dangers  of  pills  and 
drugs.  Eat  it  regularly — to 
promote  beauty  and  to  help 
control  your  weight  safely. 
Recommended  by  dietitians. 
In  the  red-and-green  package. 
Made  by  Kellogg  in  Battle 
Creek. 


SEND  FOR  THE  BOOKLET 

"Keep  Healthy  While  You 
Are  Dieting  to  Reduce" 

It  contains  helpful  and  sane  counsel.  Women 
who  admire  beauty  and  fitness  and  who  want 
to  keep  figures  slim  and  fashionable  will  find  the 
suggested  menus  and  table  of  foods  for  dieting 
invaluable.  It  is  free  upon  request. 


Kellogg  Company,  Dept.  SC-io 
Battle  Creek,  Mich. 

Please  send  me  a  free  copy  of  your  booklet 
"Keep  Healthy  While  You  Are  Dieting  to  Reduce." 


Address. 


106 


S  CREENL AN  D 


HEALTH  AND  BEAUTY — Continued  from  page  65 


ly  linked  together  are  all  physical  attrac- 
tions with  the  very  mundane  act  of  eat- 
ing. The  food  we  eat  every  day  becomes 
our  blood  which  is  our  liquid  self  and  re- 
flects our  actions,  thoughts  and  personal 
appearance.  It  has  more  to  do  with  what 
we  actually  become  than  any  other  thing. 
We  must  eat  in  order  to  live,  and  we  must 
eat  correctly  if  we  are  to  live  well  and 
beautifully. 

It  would  take  too  long  at  this  time  to 
go  into  the  matter  of  calories,  the  chem- 
istry of  food  and  the  proper  combination 
of  foods.  This  is  a  thing  each  individual 
must  figure  out  for  herself.  Counting 
calories  is  all  right  as  far  as  it  goes ;  but 
to  assume  that  calories  constitute  the 
powers  that  be  in  weight  control  and  to 
give  no  thought  to  food  combinations  is 
to  put  all  your  apples  in  one  basket.  The 
number  of  calories  you  need  depends  on 
your  normal,  not  your  actual  weight  and 
upon  the  kind  and  quantity  of  work  you 
do.  And  no  matter  how  carefully  you 
may  estimate  the  calories  needed,  if  you 
combine  the  wrong  foods  you  may  lose 
weight,  but  the  result  to  your  health  will 
be  bad. 

Give  a  little  time  to  intelligent  study 
of  the  food  and  drink  suited  to  your  need, 
and  that  which  has  a  deteriorating  in- 
fluence. Learn  to  balance  your  diet,  to 
eat  just  enough  and  not  too  much,  of 
foods  that  agree  with  you.-  Be  your  own 
dietician. 

A  good  digestion  is  as  necessary  to  a 
good  complexion  as  light,  air,  water  and 
exercise.  And  remember  that  what  one 
person  may  eat,  another  may  not.  This 
is  true,  also,  in  reducing  diets.  One  person 
may  eat  certain  foods  without  gaining 
weight.  Another  may  eat  the  same  food 
and  upon  weighing  herself  will  find  that 
the  scales  register  a  jump  of  several 
pounds.  Generally  speaking,  your  diet  is 
the  dictator  of  your  weight.  It  is  rarely 
that  a  person  who  takes  on  superfluous 
weight  cannot  trace  its  source  straight  to 
the  table,  between-meal  eating  and  under- 
exercising. 

Determine  your  normal  weight  for  your 
age  and  height  and  keep  to  that  weight 
and  your  waistline  need  not  worry  you. 
Weigh  yourself  frequently.  If  the  scales 
register  a  jump  it  may  startle  you  into 
reform.  Without  the  scales  you  may 
succeed  in  fooling  yourself,  but  remember 
you're  not  fooling  others.  Some  day,  a 
dear  friend  will  remark,  "My  dear,  you 
are  getting  fat !"  and  you'll  smile  and 
pretend  you  think  it's  a  compliment,  and 
with  near  hatred  in  your  heart  for  this 
person  you  thought  was  your  friend  you 
go  home  and  with  gnashing  of  teeth 
and  a  tape-line  try  to  think  what  to  do 
about  it. 

A  strenuous  diet  never  is  good.  It's  as 
bad  for  the  looks  as  it  is  for  the  health. 
There  are  plenty  of  non-fattening  foods 
that  are  wholesome  and  palatable  and  you 
need  not  by  any  means  deny  yourself 
everything  good  to  eat.  The  severity 
of  the  diet  must  be  regulated  by  the  in- 
dividual need,  but  it  must  be  regular,  and 
it  must  cut  down  the  starches,  fals  and 
sugars. 

But  no,  you  don't  have  to  live  on  fruit 
and  'sloshy'  vegetables!  You  may  have 
lean  meats,  poultry,  fish,  eggs  occasionally, 
every  kind  of  fruit  and  vegetables  except 
potatoes,  beans  and  corn,  all  the  fruit 
and  vegetable  salad  you  want  with  a 
dressing  of  lemon  juice  and  a  little 
oil,  whole  wheat  or  bran  or  gluten 
bread. 

With  this  list  of  foods  you  need  not  go 
hungry.  Choose  your  food  with  care  and 
combine  it  intelligently.  Your  reward  will 


be  in  finding  your  circulation  improved, 
your  activity  both  physical  and  mental  in- 
creased, your  skin  clearer  and  your  figure 
returning.  All  this  talk  about  food  doesn't 
mean  that  you  are  to  be  always  fussing 
about  what  you  eat  or  do  not  eat.  It 
simply  means  that  you  must  realize  your 
dependence  on  food  in  relation  to  your 
health  and  personal  appearance  and  learn 
to  'eat  to  live'  rather  than  'live  to  eat.' 


Lillian  Roth  doesn't  spend  all 
her  time  being  funny.  Here  she 
is  seen  practising  the  'toe-sit- 
ting' exercise,  excellent  for  slen- 
derizing the  hips,  thighs,  calves 
and  ankles. 

In  planning  a  diet  for  health  and  beauty, 
remember  that  a  certain  amount  of  rough- 
age is  necessary.  A  diet  lacking  in  rough- 
age inevitably  leads  to  imperfect  elimina- 
tion and  there  is  no  more  cruel  foe  to 
beauty.  The  coarser  vegetables  such  as 
cabbage,  spinach,  onions,  carrots,  celery, 
baked  potatoes,  skins  and  all,  are  excellent 
in  this  capacity.  In  breads,  choose  whole 
wheat,  gluten,  all-bran  muffins  or  bread. 
In  cereals,  all-bran,  bran  flakes,  or 
shredded  whole  wheat  biscuits  are  ideal  for 
their  roughage  and  for  their  laxative 
qualities.  These  healthful  foods  contain 
not  only  nutritive  elements,  but  all  the 
other  elements  needed  for  building  and  re- 
pair of  bone  and  muscle. 

Being  low  in  calories  these  cereals  may 
be  eaten  freely  while  on  a  reducing  diet. 
Cream  or  rich  milk  must  not  be  taken,  of 
course,  but,  soaked  in  prune  or  orange 
juice,  any  one  of  these  foods  is  delicious. 
Or,  any  canned  or  fresh  fruit  with  its 
juice  may  be  combined  with  the  cereal. 
This  is  one  of  the  appetizing  ways  to 
add  roughage  to  diet. 

Train  yourself  to  note  symptoms  and 
treat  them  by  diet.  Remember  that  unwise 
eating  manifests  itself  in  a  mottled  skin, 
a  complexion  marred  by  pimples,  black- 


heads, large  open  pores,  a  red  nose,  sallow 
skin,  lusterless  hair  and  dull  eyes.  And 
when  you  step  on  the  scales  and  find  you 
have  gained  five  pounds  you  may  be  sure 
you  are  eating  too  much  food  or  too  much 
that  is  rich  or  sweet.  Eat  more  freely 
of  fruit,  vegetables,  and  foods  with 
roughage.  Drink  freely  of  water  between 
meals.  Most  skin  troubles  and  most  cases 
of  overweight  may  be  controlled  by  a 
healthful  diet. 

An  effective  method  of  purifying  the 
digestive  system  is  by  the  use  of  yeast. 
That  three  cakes  of  yeast  a  day  will  keep 
the  doctor  away  is  a  well-known  fact  and 
it  is  also  a  natural  way  to  complexion 
health. 

Yeast  is  the  oldest  health  food  known 
to  medical  science.  It  was  used,  we  are 
told,  by  Hippocrates  the  'father  of  medi- 
cine,' and  by  the  physicians  of  Nero's 
court.  And  throughout  the  ages  science 
has  added  bit  by  bit  to  the  knowledge 
handed  down  by  these  pioneers  in  the  art 
of  healing.  And  it  does  what  is  claimed 
for  it.  It  ensures  good  elimination, 
raises  the  resistance,  renews  appetite,  im- 
proves digestion,  and  clears  away  skin 
eruptions. 

Many  interesting  and  amazing  things  we 
learned  about  yeast.  One  was  that  there 
is  now  a  patented  process  of  irradiation 
which  endows  this  famous  food  with  an 
added  health  element,  the  "sunshine"  vita- 
min— known  to  science  as  vitamin  D — and 
of  vital  importance  to  health. 

We  all  know  something  about  vitamins, 
those  mysterious  food  essentials  contained 
in  yolk  of  eggs,  butter,  cream  and  whole 
milk  as  well  as  other  natural  foods  and 
without  which  health  cannot  be  maintained. 
Yeast,  we  learned,  is  the  richest  food 
source  of  vitamin  B.  But  the  "sunshine" 
vitamin  D  is  outstanding  because  it  is  the 
only  vitamin  that  can  be  produced  arti- 
ficially. 

We  know  that  sunshine  is  very  good 
for  the  body  but  we  did  not  know  until 
recently  that  this  was  because  the  ultra- 
violet rays  of  sunlight  converted  a  certain 
substance  in  our  skin  into  "sunshine"  vita- 
min. And  now,  amazingly,  it  has  been  dis- 
covered that  this  same  substance  in  yeast  may 
be  converted  into  the  "sunshine"  vitamin 
which  heretofore  was  obtained  only  through 
the  action  of  the  sun  on  the  skin.  As  a 
result,  we  can  now  eat  summer  sunshine 
all  year  'round  in  a  simple  convenient  food. 
Irradiated  by  powerful  ultra-violet  lamps 
each  cake  of  yeast  is  endowed  with  as 
much  "sunshine"  vitamin  as  hours  of  sum- 
mer sunshine  can  possibly  create  in  our 
bodies,  and  it  has  an  energizing  effect 
on  the  whole  system. 

I  had  heard  that  the_  eating  of  yeast 
caused  one  to  take  on  weight  and  inquired 
if  this  was  true.  The  answer  was  no. 
Yeast  enables  one  to  assimilate  food  and 
gives  a  normal  appetite.  If  there  is  a 
gain  in  weight  it  is  because  of  the  gain 
in  appetite,  not  because  of  the  yeast,  as 
one  cake  contains  fewer  calories  than  a 
soda  cracker. 

Exercise  bears  an  important  relation  to 
the  weight  and  also  to  beauty  of  skin.  It 
sends  the  blood  to  all  parts  of  the  body 
and  more  waste  is  carried  away.  Usually, 
people  who  are  normally  active,  physically, 
approach  more  rapidly  the  normal  stand- 
ards of  weight.  You  must  exercise  not 
only  to  help  the  reducing  process,  but  to 
harden  the  muscles  and  strengthen  the 
tissues  so  that  lessened  weight  through 
diet  need  not  be  followed  by  flabbiness  of 
flesh. 

Swimming,    skating,    dancing,  walking, 
riding,  and  even  housework  are  all  ex- 
(Contimied  on  page  108) 


for    October  1930 


107 


I  m  a  helpless  prisoner! 

says  MYRNA  LOY 


"I'm  caught  I  ...  in  a  spun-silh  weh  Jim  held 
.  .  .  in  a  star-dust  rapture  I  I  m  captive  to  a 
lilting  moodl  But  I  love  my  captor  .  .  .  Til 
never  escape.  For  this  mood  that  s  captured 
me  is  Youth  itself  .  .  ,  a  mood  which  stole 
jrom  a  perfume  hottle  and  entered  my  heart  .  .  . 
surrounded  my  soul  .  .  .  and  I  surrendered! 
See,  here  s  the  hottle  .  .  .  there  s  the  name  — 
Seventeen  —  hut  wait!  Not  a  hreath  of  it  — 
unless  YOU  want  to  he  carried  away  —  too  1 


.Seventeen  . .  .  not  a  perfume  alone 

e  ensem  Lie  of  gay  toiletries! 

Tke  ensemble  idea  is  smart  in  toilet  accessories,  tool 
.  .  .  so  iSeventeen's  gay  and  ligktsome  fragrance  lias 
teen  breatked  into  eack  of  tkese  essentials:  Powders 
.  .  .  a  face  powder,  batk  powder  and  talcum  ... 
all  ckarmingly  packaged,  all  exquisitely  soft,  all 
faintly  scented  witk  Seventeen  ...  a  Compact,  tke 
smartest  you  ve  ever  seen,  in  gleaming  black  ...  a 
Sacliet,  tke  subtlest  way  to  perfume  lin  serie  .  .  .  Bril- 
lantines,  one,  solid,  one  liquid,  to  restrain  straying  locks 
and  leave  a  fragrance  tkat's  ever  so  elusive. 


108 


SCREENLAND 


modem 
formif 
youare 
rundown, 
fagged 
and. . . . 

ONLY 
HALF 
THE 


For  health 
and  vigor 
eat  yeast. 
But  get  it  in 
palatable  con- 
venient form! 
Yeast  Foam  Tab- 
lets are  pure  yeast; 
they  are  easy  to  swal- 
low although  many 
prefer  to  chew  them  like 
candy  because  of  their 
pleasant  taste. 
Eat  these  tablets  for  indigestion, 
constipation,  skin  disorders  and 
general  run-down  conditions. 
As  to  quality  and  potency  .  .  .  this 
yeast  is  used  as  the  standard  for  vita- 
min studies  by  investigators  of  leading 
universities  of  the  nation  and  of  the 
United  States  Government.  Large  10-day 
bottle  at  drug  stores  for  50  cents. 

SEND  FOR  FREE  SAMPLE 

NORTHWESTERN  YEAST  COMPANY       (S  C  L) 
1750  North  Ashland  Avenue,  Chicago,  minora 

Please  send  free  sample 
and  descriptive  circular. 


Name  . . . 
Address. 


ON   THE  AIR 

Every  Wednesday  7:00  P.M. 
Central  Daylight  Saving 
Time,  the  melodious  "Yeast 
Foamers"—  WJZ  —  WBZA  — 
WBZ  —  WHAM  —  KDKA  — 
WJR  — WLW  — KYW  — 
KWK  —  WREN  —  KSTP— 
WTMJ  — WEBC  — KFAB 


HEALTH  AND  BEAUTY  —  Continued  from  page  106 


cellent.  But  I'm  giving  you  also  a  few 
exercises  that  you  can  take  at  home. 
These  will  help  you  to  become  slim  and 
supple  and  will  also  help  to  eliminate  the 
unwanted  bulges. 

'Toe-sitting'  is  an  excellent  exercise 
for  slenderizing  the  hips,  thighs,  calves 
and  ankles.  Stand  erect,  support  hands  on 
back  of  chair,  then  squat  to  sitting  posi- 
tion, keeping  back  straight.  Raise  to  a 
standing  position,  then  squat  again,  and 
keep  this  up  at  a  moderate  pace  until 
tired.  Ten  times  is  enough  to  begin  with, 
increasing  to  twenty. 

To  reduce  hips,  abdomen,  and  to  improve 
waistline,  stand  erect,  bend  backward  then 
forward,  bringing  hands  down  between 
limbs.  Bend  backward  again  and  swing 
hands  down  in  front  of  body  touching 
ankles  from  left  to  right.  Repeat  until 
you  can  touch  floor  without  bending  the 
knees. 

Deep   breathing   exercise.     Stand  with 


Stand  erect  as  for  deep  breathing  exercise, 
with  head,  shoulders  and  buttocks  against 
the  wall,  the  heels  a  little  way  out  from 
the  wall.  Draw  the  heels  slowly  back 
with  knees  slightly  bent.  At  first  you  will 
be  able  to  slide  your  hand  between  your 
back  and  the  'hollow'  of  your  spine.  But 
persist  in  consciously  pulling  your  ab- 
dominal muscles  in  and  straightening 
your  back  and  the  'hollow*  of  your 
spine.  This  will  help  to  correct  the  pos- 
ture and  help  you  to  form  the  habit  of 
standing  correctly. 

In  exercising,  as  in  dieting,  go  about  it 
intelligently,  with  your  own  individual  need 
in  view.  Be  careful  not  to  overdo.  If 
you  take  a  cool  bath  after  exercising,  be 
sure  the  reaction  is  good.  If  there  is  a 
tendency  to  chill,  it  is  better  to  stand  in 
a  warm  tub  and  sponge  the  body  with 
cool  water  than  to  try  to  take  a  cool 
plunge  or  shower.  By  some  method,  cool 
water  should  be  used  liberally  and  often. 


Nancy  Carroll  was  popular  before  "Devil's  Holiday"  but  now 
she  is  an  outstanding  star.  Her  new  film  is  "Laughter." 


feet  together  and  arms  held  a  little  away 
from  your  sides.  Raise  arms  sideways 
and  upward  until  they  are  extended  full 
length'  above  the  head.  Inhale  slowly,  so 
that  your  fullest  capacity  is  reached  when 
the  arms  are  at  the  highest  point.  Bring 
arms  down  slowly,  exhaling  rapidly.  This 
exercise  is  to  increase  sluggish  circulation. 

Don't  forget  the  importance  of  good 
posture.  It  relieves  the  nerve  centers  and 
frees  the  circulation.  No  matter  how  well 
proportioned  your  body  is,  it  is  not  quite 
perfect    unless    your   posture    is  correct. 


This  will  help  keep  the  skin  fresh  and 
firm. 

Do  you  have  beauty  problems?  Are 
you  overweight?  The  health  and  beauty 
diet  is  yours  for  the  asking.  Follow  it, 
and  you'll  find  yourself  several  pounds 
lighter,  with  a  complexion  clear  and  fresh, 
and  with  a  feeling  of  youth  and  well- 
being  every  girl  longs  to  attain.  Ad- 
dress Anne  Van  Alstyne,  Screenland  Mag- 
azine, 45  West  45th  Street,  New  York 
City.  Please  enclose  stamped  addressed 
envelope. 


The  evening  wrap  offered  by  Dolores  Del  Rio  in  the  July 
issue  of  Screenland  has  been  awarded  to: 

Miss  Louise  George, 
1829  G  Street,  N.W. 
Washington,  D.  C. 


for   October  1930 


109 


A  CAROL  TO  SUE 

Continued  from  page  51 

they  got  lost  from  her  clothes  and  props 
and  the  boys  loaned  her  shirts  and  overalls 
and  she  was  perfectly  happy !  And  she'd 
like  to  go  places  on  the  spur  of  the  mo- 
ment. She'd  be  perfectly  capable  of  going 
to  New  York,  just  like  that,  without  pack- 
ing or  anything.  It  would  be  a  lark!  So, 
you  see ! 

Happy-go-lucky.  But  that's  because 
you've  always  had  things,  we  hint. 

"Oh,  no.  I've  been  broke,"  Sue  ob- 
jected. "It  isn't  true  at  all  that  I've 
always  had  everything.  I've  been  out  of 
money  right  here  in  Hollywood  and  it 
isn't  any  joke  owing  bills.  I  remember 
one  time — I  know  better  now — I  had  just 
$100  in  the  bank  and  owed  everybody,  it 
seemed  to  me — I  was  only  making  $150  a 
week  then — and  I  spent  $87  of  my  hundred 
going  to  San  Francisco  to  a  ball  game  and 
had  just  $13  when  I  got  back!" 

You  see  !    That  was  next  to  starving  ! 

"And  once  when  I  was  sent  over  to 
Europe  to  make  the  picture  with  Nick, 
'Chasing  Through  Europe,'  I  lost  my  letter 
of  credit.  The  company  paid  my  expenses 
but  I  had  everything  in  this  letter.  But  it 
got  lost  crossing  from  Italy  to  France, 
the  guards  forgot  to  put  my  suit  case  back 
on  the  train.  And  when  I  landed  in  Paris 
I  had  just  $30.  I  phoned  Nick  in  Rome 
but  the  connection  was  so  poor  I  thought 
I'd  better  hang  up  before  I  spent  all  of 
the  $30.  I  knew  just  one  man  in  Paris 
but  just  well  enough  to  go  to  tea  or  dinner 
with  and  I  hated  going  to  the  Fox  com- 
pany. Finally  I  wired  my  aunt  in  Eng- 
land, collect,  to  meet  me  on  a  certain  boat, 
but  when  I  got  on  she  wasn't  there.  I 
hadn't  any  reservations  on  the  boat  or  any 
money,  so  the  captain  cabled  my  mother 
and  she  wired  the  money.  That's  how  I 
got  home." 

After  all,  Sue  has  had  her  vicissitudes. 
That's  plain ! 

But  Sue  is  a  settled  young  matron  now, 
with  a  new  contract  with  RKO,  a  lovely 
new  home  and  husband  to  keep  in  order. 
There's  a  job  for  you! 

"I  want  to  work  about  five  more  years," 
Sue  will  tell  you,  "and  then  really  settle 
down.  I'd  like  to  do  something  really  big 
in  pictures  before  then.  Not  just  program 
things,  but  something  I  can  be  proud  of. 
I'm  thrilled  with  this  part  I'm  to  have  in 
the  Amos  and  Andy  picture."  Sue  sup- 
plies the  love  interest,  as  is  quite  right. 

And  what  does  Nick  say  to  all  of  this 
ambition? 

"Oh,  Nick  is  the  most  unselfish  thing 
in  the  world.  He'd  rather  see  me  get  a 
big  part  than  get  it  himself.  And  I'm 
thrilled  over  any  good  break  he  gets.  I 
couldn't  imagine  being  married  to  anyone 
who  wasn't  in  the  movies.  As  it  is  now 
we  have  the  same  interests  and  we  couldn't 
be  jealous  because  we  understand  each 
other.  We  don't  always  expect  to  be  in 
the  movies ;  some  day  Nick  will  be  doing 
other  things  and  I  will  just  stay  at  home." 

You  should  see  the  new  home,  a  large 
brick  English  place.  One  is  taken  by  the 
hand  and  shown  this  and  that  and  ex- 
plained how  bow  windows  will  be  built, 
how  breakfast  rooms  will  be  enlarged,  how 
royal  purple  sofas  must  be  returned  be- 
cause the  cushions  don't  fit.  How  the 
garage  will  be  moved  forward  and  the 
pansy-bordered  patio  enlarged.  It's  great 
fun,  keeping  house.  One  must  hire  and 
fire  servants.  One  must  talk  to  the 
Chinese  gardener  and  one  doesn't  under- 
stand a  word  of  Chinese ! 

Otherwise  the  world  is  a  happy  place 
full  of  nice  and  happy  people.  And  the 
sun  shines  and  probably  always  will  shine 
on — for  Sue! 


FROM  THIS  Oj*E  LIPSTICK 


Look  for  the  name  TANGEE  on 
the  package,  and  patronize  the  store 
that  gives  you  what  you  ask  for. 

Tangee  Lipstick,  $1.  Also  the  same 
marvelous  color  principle  in  Rouge 
Compact,  75jS  .  .  .  Crime  Rouge,  $1. 
Face  Powder,  blended  to  match  the 
natural  skin  tones,  $1.  Night  Cream, 
both  cleanses  and  nourishes,  $1. 
Day  Cream,  a  foundation  cream, 
protects  the  skin,  $1.  Cosmetic,  a 
new  "mascara,"  will  not  smart,  $1. 
All  prices  25£  more  in  Canada. 


How  demure  Tangee  looks  in  its  modest 
gunmetal  case!  How  innocent!  But  touch  it 
to  your  lips,  you  Blonde  one  of  great  fame 
.  .  .  you  Beauty  of  the  titian  hair  .  .  .  you 
sparkling  eyed  Brunette ! 

At  first  nothing  seems  to  happen.  Then 
slowly,  into  your  lips  begins  to  creep  the 
rose-blush  color  that  is  Nature's  own  ...  a 
glow  of  perfect  health  ...  of  lovely  youth. 

For  this  is  the  magic  of  Tangee  .  .  .  that  at 
first  it  seems  quite  colorless,  but  presently 
takes  on  just  that  exquisite  shade  of  color 
required  for  your  individual  complexion. 

Tangee  never  gives  an  artificial,  greasy, 
make-up  look.  It  never  rubs  off.  And  Tangee 
has  a  solidified  cream  base,  so  that  it  not 
only  beautifies  but  actually  soothes  and  heals. 


SEND  20^  FOR  TANGEE  BEAUTY  SET 

(Six  items  in  miniature  and  "Art  of  Make-Up.") 

The  George  W.  Luft  Co.,  Dept.  S.  L.-10 
417  Fifth  Avenue  New  York 


Name.  .  ■ 
Address 


110 


SCREENLAND 


MIRACLES   OF  MAKE-UP  —  Continued  from  page  19 


real.     But  they  are,   believe   it  or  not. 

Next,  the  dress  designers  came  into 
Greta's  American  life.  Since  there  was 
only  one  Garbo,  she  must  have  a  fashion 
all  her  own.  So  they  threw  away  her 
slouchy  checked  suits,  dragged  out  the 
satins  and  laces,  and  evolved  the  Garbo 
gowns :  long,  slinky  affairs  with  high 
Elizabethan  collars. 

That  was  the  first  Garbo  who  burst  upon 
the  American  picture  scene — a  strange, 
exotic  creature  who  dressed  like  no  one 
else  in  the  world.  In  recent  pictures  she 
has  become  more  human  but  not  less 
unique.  The  skull-fitting  hats,  the  stark 
simplicity  of  her  gowns  are  essentially  of, 
by  and  for  Garbo. 

The  off-screen  Garbo  has  changed,  too, 
since  that  day  when  she  first  glimpsed 
the  hills  of  Hollywood.  She  wears  no 
make-up  except  a  slight  splash  of  crim- 
son on  her  lips.  She  clings  to  tailored 
clothes,  flat  heels  and  berets,  smartly 
simple.  Gone  are  the  curled  locks,  the 
deeply  shadowed  eyes  and  the  careless 
slouchiness  of  the  other  Greta. 

Another  girl  whom  the  three  potent 
factors :  make-up,  hair  and  clothes,  have 
aided  on  the  road  to  stardom  is  Joan 
Crawford. 

When  Lucille  Le  Sueur  arrived  in  the 
land  of  motion  pictures,  she  was  Broad- 
way's idea  of  a  flapper,  gay,  restless,  too- 
made-up,  careless  of  her  clothes.  She 
didn't  have  time  to  bother  much  with  her 
appearance  in  those  days.  She  knew  that 
she  possessed  beauty,  that  no  matter  what 
she  wore  she  would  'knock  'em  dead.'  So 
she  went  her  merry,  carefree  way. 

Then  Lucille  became  Joan.  Under  the 
influence  of  the  ones-who-knew  she  toned 
down  her  make-up.  She  smoothed  down 
her  hair.  She  discovered  a  new  interest  in 
the  style  and  the  wearing  of  her  clothes. 

Joan  has  perfect  photographic  features. 
She  needs  less  make-up  than  the  majority 
of  the  screen  players.  Her  eyes  have  nat- 
ural shadows.  Her  mouth  is  beautifully 
shaped.  When  she  was  persuaded  to  dis- 
card  mascara   on  her   lower   lashes  and 


shadows  beneath  her  eyes,  she  became  far 
more  natural  and  for  more  beautiful. 

Her  hair  was  put  through  the  entire 
color  chart  from  brown  to  henna-red.  Then 
she  discovered  that  its  own  natural  glossy 
chestnut  brown  was  more  effective  than 
any  other  shade.  So  Joan  has  become  her 
real  self. 


hat,  every  hairdress  before  giving  it  a  final 
okay. 

She  uncovered  her  ears  because  they  are 
perfect.  She  wears  her  own  individual 
kind  of  a  long  bob,  because  it  increases  the 
shapeliness  of  the  contours  of  her  head. 
Her  skin  is  clear  and  unblemished  so  she 
needs  little  make-up. 


Making  a  beauty  more  beautiful — Max  Factor,  Hollywood 
make-up  expert,  helps  Raquel  Torres  select  the  proper  lipstick, 
on  the  set  at  the  Metro-  Goldwyn-Mayer  studios. 


Ronald  Colman  remains  the 
mystery  man  of  the  movies.  His 
reticence  arouses  our  curiosity. 
Ronnie's  next  talker  will  be  an 
original  by  Frederick  Lonsdale. 


She  has  been  given  an  entire  clothes 
transformation.  She  is  no  longer  a  giddy 
flapper  but  a  smart,  well-groomed,  beauti- 
fully designed  modern  girl.  When  Joan 
and  Adrian,  the  designer,  put  their  heads 
together,  the  girls  of  the  world  may  make 
ready  to  sit  up  and  take  notice. 

The  one  thing  about  Joan  which  can 
never  be  changed  is  the  army  of  splashy, 
little,  golden  freckles  which  marches  across 
her  nose.  Lucille  had  them  and  Joan  can't 
lose  them.  So  long  as  they  remain,  you 
may  know  that  the  old,  madcap  Joan  is 
ready  to  fling  her  Paris  hat  into  the  air. 
That  is  what  makes  her  so  fascinating  and 
so  ultra-modern  in  her  charm. 

When  Kay  Johnson  landed  in  Holly- 
wood to  make  her  first  picture,  "Dyna- 
mite," she  knew  nothing  whatsoever  about 
screen  make-up.  Trustfully,  she  placed 
herself  in  the  hands  of  the  studio  experts. 
They  discovered  that  she  had  just  one  fault 
photographically.  Her  nose,  which  had 
been  good-looking  behind  the  footlights, 
was  too  large  in  the  magnifying  eye  of 
the  camera. 

Were  they  downhearted?  No!  A  little 
grease  paint  in  just  the  right  places  and, 
behold,  there  emerged  a  perfect  screen 
nose.  Kay's  hair  was  right  and  she  pos- 
sessed the  uniquely  Broadway  flair  for 
wearing  clothes.  So  these  important  prob- 
lems were  settled  with  no  difficulty. 

Norma  Shearer  enlisted  the  aid  of  the 
three  powerful  makers-and-breakers  of 
stars  when  she  first  started  her  screen 
career.  Norma  is  that  kind  of  a  girl.  She 
goes  at  everything  in  a  serious,  intelligent, 
systematic  way.  She  studied  her  good  fea- 
tures and  enhanced  them.  Norma  thor- 
oughly 'camera-tests'  every  gown,  every 


Norma  is  an  unerring  judge  of  clothes 
values.  With  Adrian's  guiding  hand  she 
select  gowns  which  are  the  last  word  in 
well-groomed  sophistication.  No  one  needed 
to  teach  her  how  to  wear  them. 

Anita  Page's  whole  appearance  was 
changed  when  she  plucked  her  eyebrows. 
Anita  needs  very  little  beautification.  Her 
cheeks  are  smooth  and  round.  Her  eyes 
are  large  and  well-shaped.  Her  mouth 
is  soft  and  curved  and  a  skillful  touch  of 
the  lip  rouge  makes  it  a  trifle  smaller.  She 
is  everything  that  nineteen  should  be.  When 
her  brows  were  thinned  and  cunningly 
curved,  Anita  was  a  different  girl. 

Raquel  Torres  was  a  gay  over-painted 
little  Spanish  girl  when  she  first  went  to 
the  studio.  The  experts  removed  most  of 
her  make-up,  tamed  the  riotous  masses  of 
her  hair  and  deepened  the  curve  of  her 
lips.  The  dress  designers  threw  away  her 
jangling  bracelets  and  her  flounces,  and 
moulded  little  frocks  to  fit  her  lithe  figure. 
She  became  the  perfect  picture  of  a  modern 
senorita. 

While  the  make-up  artists  were  toning 
down  Raquel,  they  were  vivifying  little 
Dorothy  Jordan.  They  widened  and 
curved  and  reddened  her  mouth.  They 
deepened  the  shadows  around  her  eyes 
and  added  masacra  to  her  lashes.  They 
fluffed  out  the  wave  of  her  hair.  They 
changed  her  from  mouse-like  dimness  into 
a  vivid  sweetness. 

So  it  goes. 

Pens  may  undo  the  work  of  swords,  so 
they  say.  But  a  little  jar  of  lip  rouge,  and 
insignificant  eyebrow  pencil,  and  a  cleverly 
draped  yard  or  two  of  satin  may_  wreck 
the  words  of  pens  and  make  their  own 
history. 


Ill 


^Lvery  Screen  Star  in  Hollywood 

M Knows  the  Magic  Yteauty  Secret  of 
AKE-UP 

In  COLOR  Harmony 

You,  yourself,  may  now  learn  how  to  double 
your  beauty  and  vividly  accent  your  per- 
sonality .  .  .  from  Hollywood' 's  Genius 
of  Make-Up,  Max  Factor. 


C  I  NO  you  want  new  beauty  .  .  .  new  magnetism  of  personality 
X~s  .  .  .  new  fascination  .  .  .  quickly,  almost  instantly  .  .  . 
then  listen  to  this  message  from  Hollywood  .  .  .  learn  about 
the  one  make-up  that's  used  in  all  the  famous  motion  picture 
studios;  by  all  the  glorious  stars  who  have  entranced  you 
I       with.their  loveliness.  .  .  discover  why  beauty  is  always 
perfect  in  every  picture  released  from  Hollywood. 

A  discovery  by  Max 


Factor,  Hollywood's 
genius  of  make-up,  revo- 
lutionized  the  use  of 
cosmetics  in  filmland. 
Make-Up  to  really  work 
wonders  in  creating  and 
enhancing  beauty  must 
be  in  color  harmony  .  . . 
Cosmetics  must  blend 
perfectly  in  the  make-up 
ensemble.  Off-colorsruin 
beauty  .  .  .  often  produce 
unattractive,  grotesque 
effects.  All  this  Max 
Factor  learned  in  his 
work  with  motion  pic- 
ture stars  during  twenty 
odd  years. 


JOAN  CRAWFORD 
Metro-Goldn/yn-Mayer  Star  approves 
her  correct  color  harmony  tone  in  lipstick 
created  by  Max  Factor,  Hollywood's 
Make-Up  Genius. 


Then  came  the  revolutionary  idea  . . . 
face  powder,  rouge,  lipstick,  eye  shadow 
and  other  make-up  requisites  ...  all  in 
color  harmony  to  blend  with  the  com- 
plexion colorings  of  each  individual 
type,  whatever  the  variation  in  blonde, 
brunette,  brownette  or  redhead.  And 
each  color  tone  in  each  cosmetic  cre- 
ated to  some  living  type  ...  to  harmonize 
with  such  matchless  beauty  as  typified  by 
Joan  Crawford,  Anita  Page,  Billie  Dove. 

Imagine  what  amazing  new  beauty 
this  discovery  means  to  you  . .  .and  now 
you  may  share  Hollywood's  make-up 
secret,  for  in  Society  Make-Up,  Max 
Factor  has  created  powder,  rouge,  lip- 
stick, eyeshadow  and  other  requisites  for 
every  woman,  for  every  day,  based  on 
his  famous  discovery,  cosmetic  color 
harmony.  A  sensation  in  Hollywood  . .  . 
it  will  be  a  beauty  revelation  to  you. 

And  you  may  have  your  own  indi- 
vidual color  harmony  in  Society  Make- 
Up  charted  for  you  by  Max  Factor  .  .  . 
who  will  analyze  your  complexion,  and 
tell  you  personally  how  to  make  the 
most  of  your  own  natural  beauty;  how 
to  reveal  the  alluring  charm  and  fasci- 
nation you  have  admired  and  longed  for. 
Accept  this  priceless  beauty  gift  from 
Max  Factor  . .  .  and  copy  of  this  book, 
"The  New  Art  of  Society  Make-Up." 
Just  mail  the  coupon  below 

MAX  FACTOR'S  Society  MAKE-UP 

"Cosmetics  of  the  Stars"*..  .  HOLLYWOOD 

j  MA7lTF^R~WVR~COMKEXidN~Ami^sls 

I  Mr.  Max  Factor— Max  Factor  Studios,  Hollywood,  Calif.  4-9-30. 
I  Dear  Sir:  Send  me  a  complimentary  copy  of  your  48-page  book,  "The  Ntw  Art 


*<)6%  of  all  make-up  used  by  Hollywood  Screen 
Stars  and  Studios  is  Max  Factor's. 
( Lai  AngtUi  Chamber  of  Ctmmmt  Sl'liilia ) 


■  vj   lAnni^    »•  ■  w f    t   1    1  

I  chart.  I  enclose  10  cents  to  cover  cost 
I  of  postage  and  handling. 
I  Nairn  


Aidiiii  - 


Sixty  Famous  Stars  write 
about  make-up  in  this  book. 


I 
I 

I  Star 


COMPLEXION 

COLOR  EYES 

LIPS 

Ligh, 

Mo.ic 

Fi.r 

COLOR  LASHES 

Dry 

SKIN 

Ruddy 

COLOR  HAIR 

O.l, 

D«k 

Or, 

S>llo. 

AGE  | 

NorfTiil 

Olivr 

An*- tt  with  Check  MarJi 

112 


SCREENLAND 


ON  LOCATION  WITH  RICHARD  ARLEN  —  Continued  from  page  89 


on  Eugene  booming  out  the  command 
like  the  trump  of  doom?  "I  wanted  every- 
one to  know  that  I  was  doing  my  bit  to  keep 
everything  under  control."  By  that  time 
George  Abbott  was  in  a  partial  convulsion 
from  laughter.  The  Pallette  humor  and 
delivery  has  certainly  gone  over  with  his 
director. 

This  was  rather  a  complicated  location 
because  there  were  two  sections,  the  water 
section  which  included  the  under-water 
stuff  only,  and  the  land  section  which  in- 
cluded the  above-water  stuff.  Otto  Brower 
directed  the  undersea  stuff  and  George 
Abbott  the  above  water  and  dramatic  stuff. 
Mr.  Abbott  also  wrote  the  screen  story, 
adapting  it  from  the  novel,  "The  Lost 
God"  by  John  Russell. 

During  the  morning  we  took  land  scenes 
and  traveled  in  automobiles  around  and 
around  the  terraced  hills  to  the  cove  ad- 
joining the  Isthmus.  I  said  automobiles, 
but  it  seemed  as  though  everyone  climbed 
into  ours.  Eleven  people  fitted  themselves 
into  a  seven  passenger  car.  It  isn't  clear 
just  how,  we  did  seem  to  bulge  out  over  the 
running  board  a  trifle.  Every  time  we 
rounded  a  sharp  curve  on  the  narrow  road 
we'd  yell  "Watch  yourself"  to  those  cling- 
ing to  the  fenders. 

Fay  Wray  appeared  in  an  attractive 
cream  flannel  skirt  and  silk  tailored  blouse. 
The  scene  taken  that  morning  was  supposed 
to  be  after  Fay's  and  Dick's  fight  with  the 
cannibals. 

"We'll  have  to  muss  you  up  a  bit,  Fay," 
said  George  Abbott  looking  as  though  the 
job  was  one  he  wouldn't  mind  tackling  him- 
self, and  he  did!  At  least,  he  helped  and 
we  all  gave  suggestions.  With  a  pen  knife 
he  slit  the  pretty  waist  here  and  there  while 
Fay  tore  great  gashes  in  her  skirt  and  the 
property  boy  gleefully  threw  mud  over  the 
costume  and  smeared  it  down  here  and 
there.  Her  tennis  shoes  were  cut  and  frayed 
and  muddled  and  in  ten  minutes  she  was 
about  as  far  removed  from  the  chic  young 
lady  she  had  been  as  anything  you  can 
imagine.  Fay  had  three  of  these  outfits, 
all  exactly  alike.    In  a  picture  of  this  sort 


where  costumes  have  to  be  wet  or  soiled  or 
ruined  it  often  happens  that  the  last  scenes 
are  taken  first.  As  in  this  case,  Fay  is  on  a 
boat,  goes  ashore  and  has  a  scrap  with  can- 
nibals. The  cannibal  scenes  were  taken 
before  the  scenes  on  the  boat,  where  her 
dress  was  whole  and  clean.  Why  don't  they 
take  scenes  in  order  and  sequence?  Oh  well, 
go  into  pictures  and  find  out  for  yourselves! 
It  would  take  too  long  to  explain.  There 
are  a  million  reasons  why  it  can't  be  done. 

The  first  scene  was  taken  on  such  a  steep 
slant  of  the  mountain  that  a  rope  had  to  be 
tied  around  Fay's  waist  to  let  her  down  to 
the  desired  level.  Scattered  all  over  the 
road  were  the  sound  trucks,  mixing  ma- 
chines, location  chairs  and  props.  The 
script  girls  had  their  typewriters  balanced 
on  their  knees  or  on  rocks  or  the  flat  side 
of  the  hill  if  they  could  find  one.  While 
the  mussing  up  scene  featuring  Fay  Wray 
was  in  progress,  Louise  Woodcock,  one  of 
the  script  girls,  had  a  swell  time  trying  to 
talk  Fay  out  of  her  clothes. 

"You  wouldn't  be  wearing  stockings, 
Fay,"  George  Abbott  told  her. 

"Goody!  And  I  wear  her  size."  Louise 
was  joking  but  Fay  said,  "Well,  you  may 
have  them  then  and  save  me  the  trouble 
of  keeping  track  of  them."  Whereupon 
Louise  declared  it  must  be  her  lucky  day 
and  looked  about  for  more  things  Fay 
might  not  need. 

"She  wouldn't  need  that  blue  suede  belt 
either,  would  she,  Mr.  Abbott?"  she  asked, 
impishly. 

"Oh,  no.   She'd  have  lost  that." 

"And  as  she  had  been  on  the  boat,  ship- 
wrecked, she  would  probably  have  saved 
her  petticoat  so  she  could  wear  it  when  her 
dress  gave  out  in  case  they  weren't  rescued 
before  then,  don't  you  think  so?" 

"Go  on,  authoress,  you're  doing  very 
well,"  laughed  Mr.  Abbott,  but  Fay  had 
a  sequence  of  her  own  to  add:  "Oh,  yes,  she 
would,  too.  You  may  have  the  petticoat 
if  there  is  anything  left  of  it  afterwards  but 
it  stays  on  me  in  this  scene.  I'm  nothing 
but  rags  as  it  is!" 

Dick  arrived,  all  bright  and  shining,  to 


be  greeted  with  a  loud  guffaw.  "Boy, 
you  don't  know  what  you're  in  for,"  one  of 
the  assistants  laughed.  Dick  grinned  as  he 
looked  at  Fay's  bedraggled  state.  "Oh, 
that's  easy!  Three  minutes  and  my  own 
mother  wouldn't  know  me." 

"He  wouldn't  have  a  shirt  left  to  his 
back  and  his  undervest  would  be  torn  and 
stained,"  mused  the  property  man  proceed- 
ing to  qualify  as  an  artist. 

"And  what  these  tennis  shoes  would  look 
like  is  nobody's  business,"  added  Dick, 
operating  upon  them  with  a  penknife. 

"What  on  earth  are  you  made  up  for?" 
laughed  Walter  Huston,  who  had  dropped 
in  to  see  his  pals  working. 

"Oh,  just  a  bright  boy  who  got  into  an 
argument  with  some  cannibals,"  grinned 
Dick. 

We  all  sat  on  the  edge  of  the  cliff  and  let 
our  feet  hang  over  while,  from  a  built-out 
platform,  the  cameras  recorded  the  first 
love  scene  of  the  picture. 

"Why  don't  you  go  in  swimming, 
Johnny?"  we  asked  John  Engstead,  who 
is  the  contact  man  in  the  Paramount  pub- 
licity department.  All  he  had  brought  over 
in  the  way  of  luggage  was  a  comb,  a  tooth 
brush  and  a  bathing  suit  which  he  kept 
tightly  rolled  in  a  paper  bag  under  his  arm. 
He  was  all  set  to  grab  the  first  chance  of  a 
swim.  Johnny  is  only  twenty-one  and  very 
popular  with  the  Paramount  gang.  When 
we  first  arrived  everyone  we  met  called  out, 
"Hey,  Johnny!  How's  the  boy?  What  do 
you  know?"  and  so  on  from  actors,  grips  and 
carpenters.  And  I  don't  mind  saying  right 
here  that  a  good  many  people  have  won- 
dered why  Mr.  Lasky  or  Mr.  Zukor  hasn't 
taken  Johnny  by  the  ear  and  led  him  in 
front  of  the  camera.  If  that  ever  happens, 
girls,  you'd  better  put  a  padlock  on  your 
hearts,  for  you're  apt  to  lose  them  when 
Johnny  smiles. 

But  he  wouldn't  go  swimming.  His  job 
was  to  take  care  of  us  and  he  stuck  to  it 
until  we  knocked  off  work,  and  then  he 
swam  to  Dick's  boat  and  back  from  shore. 

As  it  was  a  holiday  the  bay  was  alive  with 
{Continued  on  page  115) 


ASK  ME — Continued  from  page  102 


ton.  John  Gilbert  and  Ina  Claire  were 
married  May  9,  1929. 

Lena,  New  Haven,  Conn.  To  wait  two 
months  for  an  answer  to  your  question  is 
a  mere  'what  have  you'  in  this  popular 
section  of  the  magazine.  But  here  we  are 
at  last  and  everybody's  happy.  John  Gil- 
bert's next  picture  will  be  "Way  for  a 
Sailor."  Address  him  at  Metro-Goldwyn- 
Mayer  Studios,  Culver  City,  Cal.  Irene 
Rich  will  be  seen  in  a  First  National  pic- 
ture, "Father's  Son."  Richard  Dix  has  a 
new  leading  lady  from  the  stage,  Mary 
Lawlor,  in  his  latest  release,  "Shooting 
Straight."  Rich's  next  will  be  a  'special,' 
"Cimarron." 

Ohio  Boy  from  Neivark.  What  would 
the  big  screen  stars  say  if  I  would  ap- 
proach them  and  ask  several  questions? 
Answer  them,  of  course.  Buddy  Rogers 
has  the  personality  that  rings  the  bell  at 
the  box  office.  In  his  new  picture,  "Heads 
Up,"  he  will  have  as  leading  lady  a  new- 
comer to  the  screen,  Margaret  Breen  from 
the  New  York  stage.  Helen  Kane  will 
boop-a-doop  her  way  through  the  film,  also. 
Write  to  Joan  Crawford  at  Metro-Gold- 
wyn-Mayer  Studios,  Culver  City,  Cal. 

Gay,  St.  Joseph,  Mo.  So  I  hit  the  soft 
spot  in  your  heart,  do  I?  Now  that  that 
is  settled,  we  can  go  on  to  bigger  things. 


Take  Jackie  Coogan— no,  I'll  take  him. 
He  is  to  appear  in  another  picture  soon, 
"Tom  Sawyer."  Alice  White  is  in  "Sweet- 
hearts on  Parade"  with  Marie  Prevost, 
Lloyd  Hughes  and  Kenneth  Thompson,  a 
Columbia  Pictures  production. 

Mrs.  R.  R.  H.  of  Drexel  Hill,  Pa. 
Richard  Arlen's  real  name  is  Van  Matte- 
more.  He  is  getting  good  breaks  from  the 
directors  and  his  fan  mail  is  on  'the  up 
and  up.'  Delight  Evans,  Editor  of  Screen- 
land,  uses  her  own  name  in  the  magazine. 
Jack  Oakie's  latest  picture  is  "The  Sap 
from  Syracuse"  with  Ginger  Rogers. 

Mary  De  P.,  Cambridge,  Mass.  Where 
can  you  get  the  answers  to  the  questions 
you  ask  me?  Right  here,  from  the  well- 
known  'come-hither'  department.  Conrad 
Nagel  can  be  reached  at  Metro-Goldwyn- 
Mayer  Studios,  Culver  City,  Cal.  Conrad 
plays  in  "Second  Choice"  with  Lila  Lee, 
and  in  "Numbered  Men"  with  Bernice 
Claire  and  Raymond  Hackett.  His  next 
picture  will  be  with  Norma  Talmadge  and 
William  Farnum  in  "Du  Barry,  Woman  of 
Passion."  Dolores  Costello  Barrymore  has 
not  made  a  picture  since  the  birth  of  her 
daughter. 

Izzie  and  Ginger  from  Maldon.  If 
Rudy  Valee  and  Amos  'n'  Andy  were  on 


the  air  at  the  same  time,  what  would  I  do? 
I'd  let  them  have  it.  Esther  Ralston  was 
born  Sept.  17,  1902,  in  Bar  Harbor,  Maine. 
She  is  5  feet,  5  inches  tall,  weighs  124 
pounds  and  has  blonde  hair  and  blue  eyes. 
Clara  Bow  was  born  July  29,  1905.  She 
has  red  hair,  agate  brown  eyes,  is  5  feet, 
Zy2  inches  tall  and  weighs  110  pounds. 
As  far  as  I  know,  neither  Esther  nor  Clara 
ever  went  to  college. 

Ruth,  Virginia.  No,  I'm  not  related  to 
Yoo-Hoo  or  Voo-Doo;  I  come  from  a 
very  good  family  with  a  long  line  of  an- 
cestors, reaching  'way  back.  I  don't  re- 
member Peggy  O'Day  of  "The  Fighting 
Skipper."  That  was  a  serial  of  1923  and 
I  can't  remember  that  far  back.  Lane 
Chandler  was  born  June  4,  1901,  in  Cul- 
bertson,  Montana.  Gary  Cooper's  real 
name  is  Frank  J.  Cooper  but  he  didn't  tell 
me  what  the  J.  is  for. 

Milly.  Where  in  Illinois  have  you  been, 
not  to  know  that  Nick  Stuart  and  Sue 
Carol  are  married?  The  well-known  knot 
was  tied  July  28,  1929,  in  Ventura,  Cal. 
Nick  has  been  making  short  comedies  and 
has  been  flashing  his  famous  smile  and 
causing  our  heart  to  skip  a  beat,  now  and 
then.  In  "The  Big  Party"  with  Sue  Carol, 
you  saw  Dixie  Lee,  Frank  Albertson  and 
Richard  Keene. 


for    October  1930 


113 


m  Sanitary  Protection  m 

must  be  inconspicuous  J 

that's  why  most  women  prefer  Kotex 


LONG  LANCE,  CHIEF 
OF  HEART-BREAKERS 

Continued  from  page  63 

fairly  well.  From  that  day  to  this  I've 
always  looked  up  every  word  I  didn't  know 
the  meaning  of,  and  now,  you  can  hardly 
stump  me  on  any  word  at  all.  Or  on  any 
of  those  fancy  accents,  either !" 

Soon  afterward,  the  boy  was  admitted 
into  the  Government  Indian  School  at  Car- 
lisle, Pennsylvania.  There  he  played  on 
Jim  Thorpe's  famous  football  team. 
Later  he  went  on  to  Manlius  Military- 
Academy,  winning  more  athletic  honors, 
until  finally  he  entered  West  Point,  where 
he  remained  but  three  years.  When  I 
asked  him  what  happened,  he  said : 

"I  guess  I  must  be  a  born  fighter,  for 
I  can't  go  long  without  something  stirring ! 
You  see,  I  had  been  getting  military  train- 
ing for  eight  years  but  no  actual  fighting. 
I  never  could  stay  in  one  place  very  long, 
so  I  just  up  and  slipped  over  into  Canada 
— after  they  fired  me  out  of  West  Point — 
and  enlisted  in  the  Fiftieth  Battalion  of 
Cavalry  of  Alberta,  where  I  was  sent 
overseas." 

It  was  in  1916  that  Long  Lance  entered 
the  army  as  a  private.  He  came  out  at 
the  end  of  the  war  a  Captain,  with  three 
citations  for  bravery  under  fire.  With  no 
more  fighting  around,  the  Indian  started 
in  as  a  newspaper  reporter  up  Calgary 
way.  He  began  at  $10  and  was  making 
$32  when  he  was  fired.  There  hadn't  been 
enough  stirring  for  the  Chief,  not  even 
with  all  the  labor  troubles  going  on  then. 
So  the  Indian  put  a  fake  bomb  in  city 
hall — with  the  result  that  the  Mayor  of 
the  town  jumped  through  three  panes  of 
glass  to  escape  the  "explosion." 

It  was  at  this  period  that  the  Blood  In- 
dians, a  branch  of  the  Blackfeet,  made 
Long  Lance  a  Chief  of  their  tribe.  Shortly 
afterwards,  he  went  to  work  as  an  archae- 
ologist for  the  Canadian  Government. 
For  three  years  he  remained  here,  and  it 
was  during  this  time  that  he  wrote  his 
book  "Long  Lance,"  which  has  probably 
done  as  much  for  the  Indians  as  any 
single  volume.  In  addition,  he  contributed 
three  short  stories  to  Cosmopolitan,  one  of 
which,  "Custer's  Last  Stand,"  was  chosen 
as  one  of  the  twelve  best  short  stories  of 
1926.  His  was  the  seventh  best  which 
gave  him  precedence  even  over  that  of  the 
celebrated  British  novelist,  H.  G.  Wells. 

It  was  at  this  time  that  Burden  discov- 
ered Long  Lance  and  cast  him  for  the 
hero  in  "The  Silent  Enemy." 

Long  Lance  likes  rare  steak,  fresh  fruit, 
and  hard-boiled  eggs.  Also  blondes,  new 
shoes,  and  all  kinds  of  correctly  cut  cloth- 
ing. He  dislikes  night  clubs,  bad  liquor, 
women  who  wear  masculine  clothes,  and 
Hollywood — which  he  thinks  is  a  "gaudy, 
flimsy,  incoherent  place." 

"I  like  to  look  on  myself,"  the  Chief  ex- 
plained, "as  the  spokesman  of  my  tribe. 
And  every  time  I  may  feel  like  cutting 
loose  and  raising  hell — I  don't !  For  I 
figure  it  might  reflect  on  Indians  gener- 
ally. 

"The  greatest  enjoyment  I  ever  had  was 
while  we  were  making  'The  Silent  Enemy.' 
It  was  a  life  of  real  adventure.  We  were 
free.  Away  from  people,  houses,  civili- 
zation. There  was  no  money  problem,  for 
we  had  no  money.  We  were  housed  and 
fed  and  we  didn't  even  catch  sight  of  any 
yellow  backs  for  one  year.  Here  in  the 
North  Country,  one  hundred  miles  within 
the  Arctic  circle,  we  lived  for  twelve 
months  the  lives  my  ancestors  lived  five 
hundred  years  ago. 

{Continued  on  page  114) 


Kotex  now  has  rounded, 
tapered  corners  which 
eliminate  awkward  bulges 
and  assure  a  snug,  firm  fit. 

THERE  are  times  when  you  hesi- 
tate to  enjoy  sports  to  the  fullest . . . 
unless  you  know  about  Kotex. 

Kotex  is  the  sanitary  pad  that  is 
designed  for  inconspicuous  protection. 
The  corners  are  rounded  and  tapered. 
Sides,  too,  are  rounded.  It  gives  you 
complete  security  and  ease  of  mind. 

Wear  Kotex  without  a  worry,  then, 
under  any  frock  you  possess.  Wear  it 
for  sports  or  with  filmiest  evening 
things — and  retain  the  cool  poise  so 
essential  to  charm. 

Light,  cool,  comfortable 
There's  another  way  in  which  this  care- 
ful shaping  brings  wonderful  relief. 
There's  no  unneeded  bulk  to  pack  and 
chafe.  No  awkward  bulges  to  grow 
terribly  uncomfortable. 

Kotex  is  always  light,  always  cool, 
always  comfortable.  This  is  largely  due 
to  its  remarkable  filler  —  Cellucotton 
(not  cotton)  absorbent  wadding.  Cel- 
lucotton is  five  times  more  absorbent 
than  cotton.  This  means  your  Kotex 
pad  can  be  five  times  lighter  than  any 


cotton  pad,  with  the  same  absorbency 
and  protection. 

America's  leading  hospitals — 85%  of 
them — choose  this  same  absorbent  for 
important  surgical  work. 

Kotex  deodorizes  .  .  .  keeps  you  dainty 
and  immaculate  at  times  when  that  is 
particularly  essential.  It  is  so  easily  dis- 
posed of. 

You  owe  it  to  your  comfort  and  good 
health  to  use  this  modern,  safe,  sanitary 
protection.  Kotex  is  available  every- 
where.  Kotex  Company,  Chicago,  111. 

^^iiiiiiiiiiiiiiuiiiiiiiiiiiiiiitiMitiiiiiiriiimiiiiniiiifiitiiiiiiniiiiiiiiiiiiintniiiiiiiriiHiiniiiiiiiiiimiiiiiiifi^g 

I  IN  HOSPITALS 

g  ]^  85$  of  our  leading  hospitals  use  the  very  g 
H  same  absorbent  of  which  Kotex  is  made.  = 

I  2    Kotex  is  soft .  .  .  not  a  deceptive  soft-  1 

B  ness  that  soon  packs  into  chafing  hard-  § 

H  ness.  But  a  delicate,  fleecy  softness  that  g 

g  lasts  for  hours. 

§}  %    Safe,  secure  .  .  .  keeps  your  mind  at  g 

1  ease.  g 

g  4  Deodorizes  .  .  .  safely,  thoroughly,  by  | 
=  a  special  process. 

g      ^    Disposable,  instantly,  completely. 

g  Regular  Kotex— 45c  for  12 

g  Kotex  Super-Size— 65c  for  12 

g  Also  regular  size  singly  in  vending  cabinets  g 
H  through  West  Disinfecting  Co. 

I Ask  to  see  the  KOTEX  BELT  and  I 
KOTEX  SANITARY  APRON  at  any  liniiiiiiiii 
drug,  dry  goods  or  department  store.  I 

K  O  T  e  X 

The  New  Sanitary  Pad  which  deodorizes 


114 


SCREENLAND 


DARE  THE  STARS  TRY  AGAIN  FOR  HAPPINESS?  —  Continued  from  page  21 


ago,  Betty  was  working  in  'quickies'  in 
Poverty  Row.  True,  she  had  made  and 
saved  plenty  of  money  but  she  was  very  far 
from  the  artistic  heights  where  she  longed  to 
be.  When  she  would  come  home  at  night, 
after  a  hard  day's  work  at  the  studio,  she 
wanted  quiet,  restful  companionship.  But 
what  did  she  find?  She  found  her  husband 
in  a  house  full  of  people!  Jim  has  always 
liked  his  friends  around  him.  And  why  not? 
But  for  all  the  rest  poor  Betty  got,  she  might 
just  as  well  have  camped  out  on  the  board- 
walk at  Coney  Island.  Despite  this  draw- 
back, she  kept  on  going. 

By  the  exercise  of  almost  superhuman  self- 
control,  keeping  her  weight  down,  studying, 
working  doggedly,  even  when  she  had  to  go 
out  of  her  crowded  house  to  a  quiet  cove  on 
the  beach  to  learn  her  lines,  Betty  staged 
one  of  the  greatest  come-backs  in  screen 
history.  And  now,  wishing  to  keep  her 
place  at  the  top  of  the  screen  world,  and 
knowing  she  cannot  do  it  in  Jim  Cruze's 
crowded  house,  she  has  sued  for  divorce — 
even  though  her  closest  friends  say  that  Jim  is 
still  the  one  man  for  whom  she  really  cares. 

Colleen  Moore!  Gentle,  unspoiled,  striv- 
ing Colleen  certainly  deserves  happiness  for 
she  has  worked  as  hard  or  harder  than  any 
woman  in  screenland.  After  studio  hours, 
Colleen  likes  to  drop  her  comedienne  role 
and  read  books  on  art.  She  has  always 
wanted  to  be  an  artist,  a  sculptress.  The 
desire  to  indulge  in  this  avocation  grew 
stronger  with  the  years.  But  she  didn't 
live  her  own  life — as  many  a  more  selfish 
woman  would.  Colleen  loved  her  husband, 
John  McCormick — Johnny,  as  she  always 
used  to  call  him — and  sacrificed  her  own 
wishes  to  his.  Now,  she  can't  go  on  against 
her  instincts  any  longer.  And  with  great 
courage  has  entered  the  divorce  court.  I 
say  great  courage  advisedly,  because  Col- 
leen has  grown  up  and  remained  faithful  to 
a  religious  belief  which  strongly  discourages 
any  marital  separation — no  matter  for 
what  reason. 

Billie  Dove's  case  is  easier  to  understand. 
Billie  is  one  of  the  most  beautiful  women 
in  the  world  today.  And  if  she  feels  she 
has  missed  happiness  in  her  first  try,  cer- 
|  tainly  such  a  glamorous  personality  as  this 
wcman  should  be  entitled  to  a  second 
chance.  She  seems  to  me  created  especially 
for  love.  And  her  friends  hope  she  will 
find  it  with  Howard  Hughes,  the  young 
millionaire  producer  of  "Hell's  Angels," 
who,  it  is  rumored,  will  be  the  second  Mr. 
Billie  Dove. 

■f-  


Miss  Dove  has  had  many  precedents  for 
takng  a  second  dip  into  the  matrimonial 
sea.  There  is  Corinne  Griffith,  who  was 
married  to  Webster  Campbell  before  she 
finally  found  contentment  as  Mrs.  Walter 
Morosco.  And  Richard  Arlen  had  stepped 
into  the  marriage  license  bureau  once  be- 
fore his  present  trip  up  the  altar  with 
Jobyna  Ralston,  who  seems  to  have  brought 
him  everything  a  man  could  want.  And 
there  are  dozens  of  other  stars  who  have 
rolled  this  question  of  divorce  over  in  their 
minds  during  many  wakeful  nights,  and 
despite  the  advice  of  gray-bearded  pessi- 
mists .earful  of  box  office  results,  have  dared 
to  take  a  second  shot  at  the  matrimonial 
game. 

Hoot  Gibson  is  one  of  the  most  recent 
cases,  when  a  few  months  ago  he  married 
Sally  Eilers.  Barthelmess,  too,  had  heard 
wedding  music  before  he  became  congenially 
linked  with  Jessica  Sargeant,  his  smart  and 
charming  second  wife.  Reginald  Denny 
is  a  third.  His  new  wife,  "Bubbles" 
Steifel,  they  say,  is  bringing  him  much 
happiness. 

Again,  there's  little  Joan  Bennett,  who 
seems  no  more  than  a  baby  herself,  yet  she 
has  not  only  been  married  and  become  a 
mother,  but  has  also  divorced  a  husband. 
She  is  now  in  her  very  early  twenties,  and 
box  office  or  no  box  office,  shouldn't  we  all 
like  to  see  her  try  again — particuarly  when 
there's  such  a  good-looking,  brilliant  young 
film  executive  admiring  her  from  the  side 
lines? 

And  Del  Rio.  Somehow,  her  case  seems 
particularly  tragic  to  me.  You  know,  it's 
harder  to  try  again  if  you've  found  hap- 
piness in  your  first  marriage  than  if  you 
have  not.  And  Del  Rio  did  love  her  hus- 
band. Of  course,  when  she  came  to  Holly- 
wood, deserting  her  aristocratic,  secluded  life 
in  Mexico  City,  there  were  many  changes, 
many  re-adjustments.  Poor  distinguished 
Jaime  must  have  felt  very  strange,  almost 
de  trop  there  in  Cinema  City.  Finally, 
when  the  big  misunderstanding  came,  he 
went  away,  and  Dolores  divorced  him. 
Then,  as  we  all  know,  he  died,  alone  on  the 
continent.  With  Dolores  in  Hollywood  six 
thousand  miles  away!  All  she  could  do  was 
to  cable:  "I  love  you."  She  must  have  felt 
like  the  words  of  the  old  song:  "Love  comes 
but  once,  and  then  perhaps  too  late."  But  it 
isn't  too  late  in  her  case.  As  we  go  to  press 
Dolores  is  announcing  her  engagement  to 
Cedric  Gibbons,  the  popular  art  director  for 
Metro.    They  will  be  married  soon. 


Then  there's  pretty  Helen  Twelvetrees, 
who  joined  the  talkie  ranks  over  a  year  ago. 
Should  she  not  dare  to  marry  again  since 
her  separation  from  Clark  Twelvetrees  for 
fear  the  fans  will  prove  inconstant?  Cer- 
tainly, they  didn't  to  Grant  Withers,  the 
happy  husband  of  Loretta  Young,  who  has 
an  unfortunate  marriage  behind  him. 

And  how  about  John  Barrymore? 
Married  formerly  to  Michael  Strange,  the 
poetess,  with  her  at  one  side  of  the  world 
and  him  at  the  other — what  happiness 
could  result?  Anybody  who  has  seen  the 
exquisite  Dolores  Costello  holding  Barry- 
more's  child  in  her  arms  could  not  have  the 
heart  to  deny  them  the  happiness  which  has 
apparently  resulted  from  their  marriage 
some  two  years  ago. 

The  list  of  stars  who  have  dared  or  are 
daring_  is  very  long!  There's  Bob  Wheeler 
and  his  wife  Betty,  now  divorced,  but  he 
has  recently  become  the  happy  father  of  a 
child  by  his  second  wife.  Sue  Carol  was 
divorced  before  she  ever  saw  Nick  Stuart's 
curly  black  hair.  Then  there's  that  very 
nearly  perfect  person,  Hedda  Hopper. 
Did  you  ever  study  her  pictures  closely? 
If  you  do,  you'll  notice  that  nearly  always 
she  seems  very  wistful.  Surely  she's  too  fine 
to  remain  unmarried.  And  how  about  great 
Al  Jolson,  who  told  me  he  never  knew  what 
happiness  was  until  he  went  swimming  and 
golfing  with  Ruby  Keeler,  now  Mrs.  Jolson? 
There's  sad  little  Mary  Astor  whose  hus- 
band was  so  tragically  killed  in  an  airplane 
accident.  And  how  about  King  Vidor, 
and  Florence,  his  former  wife,  so  marvelously 
content  with  her  second  marriage  to  Yascha 
Heifitz  and  now  expecting  a  new  baby 
any  day?  To  say  nothing  of  Eleanor  Board- 
man  who  has  borne  two  children  to  King 
Vidor.  Eleanor  always  wanted  children — 
and  now  she  has  them.  And  there's  Helene 
Costello  and  her  new  husband,  Lowell 
Sherman;  Elinor  Faire,  Billy  Boyd,  John 
Gilbert,  Leatrice  Joy,  Lita  Gray,  Kenneth 
Harlan,  Marilyn  Miller,  and  the  first  Mrs. 
Douglas  Fairbanks  who  now  seems  bliss- 
fully happy  with  her  young  actor  husband, 
Jack  Whiting.  And  I  am  sure  there  are 
many  more  stars  whom  I  have  overlooked. 

Of  course,  there  are.  Mary  and  Douglas, 
the  most  splendid  of  all  screen  artists, 
who  have  dared  to  seize  their  happiness. 
And  they've  paid  for  it,  too,  for  it's  only 
lately  they  have  been  able  to  drop  the  cares 
of  executive  life  and  enjoy  themselves.  For 
years  their  whole  existence  was  given  to 
(Continued  on  page  129) 

 f 


LONG  LANCE,  CHIEF  OF  HEART-BREAKERS  —Continued  from  page  113 


"I  think  Mr.  Burden  deserves  great 
credit  for  this  picture,  not  only  because  it 
is  real  entertainment  but  because  he  has 
adhered  in  every  respect  to  Indian  truth. 
For  instance,  you  know  the  historical  set- 
ting of  the  picture  was  the  year  1400.  At 
this  time,  the  Indians  knew  nothing  of 
beads.  They  trimmed  their  costumes 
with  furs  and  porcupine  quills.  And  it 
was  not  until  the  Hudson  Bay  Company  in- 
troduced beads  to  simulate  porcupine  quills 
that  the  Indians  adopted  them.  In  'The 
Silent  Enemy,'  not  one  single  bead  is  seen. 
This  point  is  merely  used  to  illustrate  just 
one  of  the  many  ways  in  which  Mr.  Bur- 
den presented  the  true  Indians  to  millions 
of  people  in  this  country  who  are  fast  for- 
getting the  real  character  and  nature  of 
the  Red  Man." 

When  you  see  Long  Lance  in  "The 
Silent  Enemy,"  in  his  hides  and  furs  and 


porcupine  quills,  you  can  form  no  true 
picture  of  the  man  he  is  to-day.  At  least, 
no  true  picture  of  the  cosmopolitan  char- 
acter I  interviewed  just  as  he  was  step- 
ping out  to  a  party.  Instead  of  a  feath- 
ered head-dress,  he  wore  a  shining  silk  hat. 
Not  a  buckskin  shirt  but  a  formal  evening 
coat,  long  tails  and  all.  In  the  place  of  a 
tomahawk  in  his  belt,  he  carried  a  thin 
platinum  watch.  And  brilliantly  glossed 
patent  leather  shoes  instead  of  moccasins 
covered  the  slim  feet  that  have  sought  out 
the  hidden  places  in  so  many  tortuous 
trails. 

The  boy  rose  from  nothing  to  everything. 
He  is  welcome  to-day  in  the  smartest 
homes.  Pie  is  sought  out,  interviewed,  flat- 
tered, feted. 

The  romantic  thing,  of  course,  would 
be  to  predict  that  this  mighty  hunter  will 
go  back  to  the  land  where  the  moose  and 


caribou  roam.  But  I  believe  that  the 
nearest  this  red-skinned  Romeo  will  get  to 
an  antlered  animal  for  some  time  will  be 
when  he  sits  down  to  maybe  a  venison 
steak — must  be  rare — after  Mr.  Zukor  or 
Mr.  Lasky,  or  one  of  our  other  production 
czars,  gets  Long  Lance's  Indian  sign  on 
the  dotted  line.  For  the  Chief  is  a  mar- 
velous actor  as  he  has  shown  in  "The 
Silent  Enemy."  And,  since  without  even 
opening  his  mouth — he  didn't  talk  in  his 
first  film — he  has  half  of  the  feminine 
scalps  in  America  right  at  his  belt,  what 
will  happen  when  he  is  starred  in  a  talking 
picture? 

I'll  tell  you  what  will  happen!  He's 
going  to  give  Gary  Cooper,  Richard  Dix 
and  the  rest  of  our  great  outdoor  heroes 
of  the  screen  an  awful  run  for  their 
cinema  money ! 


for    October  1930 


115 


OX  LOCATION  WITH 
RICHARD  ARLEN 

Continued  from  page  112 

boats  which  didn't  help  the  progress  of 
sound  pictures  at  all. 

In  the  afternoon  we  went  out  on  the 
boat  to  the  lagoon  in  front  of  the  'jungle.' 
Dick  had  to  put  on  the  diving  suit  for  the 
first  time. 

It  had  been  calm  in  the  morning  but  the 
usual  afternoon  breeze  had  sprung  up  so 
v.-ith  all  the  other  things  they  had  to  wait 
for,  such  as  putt-putting  boats,  airplanes 
and  light,  they  had  to  watch  the  'jungle' 
background.  With  the  boats  in  a  certain 
position  the  'jungle'  was  in  camera  range. 
When  the  swell  of  the  sea  turned  them  it 
was  out,  and  one  doesn't  find  Catalina 
scenery  in  the  South  Sea  Isles. 

"Never  mind,  Fay.  Keep  up  your 
courage.  You'll  work  tonight,  anyway. 
You'll  be  in  the  picture,"  soothed  George 
Abbott,  jokingly.  Fay  had  been  sitting  in 
the  blistering  sun  most  of  the  afternoon 
waiting  to  be  called.  We  all  laughed. 
Night  work  is  something  to  look  forward  to 
when  one  has  risen  at  six. 

There  had  been  a  great  excitement  when 
it  was  discovered  that  Fay's  extra  pair  of 
tennis  shoes  had  been  left  in  Hollywood,  the 
ones  to  match  those  which  had  been  ruined 
in  the  morning.  And  there  wasn't  a  pair  in 
the  wardrobe  that  would  fit  her.  They 
were  either  too  large  or  too  small.  Fay 
wears  a  five.  You'll  be  pleased  to  hear  that 
she  chose  a  pair  a  size  too  large  rather  than 
one  a  size  too  small.  "I  have  too  much 
respect  for  my  feet  to  cramp  them  up  even 
for  an  afternoon  if  I  can  help  it,"  she  said. 

We  discovered  from  Thomas  Owen,  a 
well-known  professional  diver  with  over 
twenty-five  years'  experience  in  the  busi- 
ness, a  lot  we  hadn't  known  before  about 
deep  sea  diving.  Mr.  Owen  was  one  of  the 
divers  on  the  picture,  "Men  Without 
Women."  He  uses  a  regulation  commercial 
diver's  outfit  and  that's  what  Dick  wears, 
too.  For  under-water  stuff  a  specially  made 
and  weighted  camera  in  a  specially  made 
under-water  booth  is  sunk  to  the  floor  of 
the  ocean.  The  camera  weighs  three  hun- 
dred and  fifty  pounds.  The  camera  man 
also  wears  a  diving  suit  but  can't  enter  the 
booth  to  operate  the  camera.  It  has  to  be 
run  by  electricity.  The  cameraman  indi- 
cates the  spot  he  wants  the  camera  to  be  in 
and  signals  above.  The  booth  is  then 
lowered  over  the  spot.  A  diver's  suit 
weighs  eighty  pounds  as  it  takes  that  much 
weight  to  hold  a  man  down.  This  weight 
is  adequate  for  any  depth  it  is  possible  for 
him  to  go.  The  pressure  of  water  is  one 
pound  to  each  foot,  I  am  told,  so  by  the 
time  you  have  gone  down  thirty  feet  you 
have  thirty  pounds  resting  upon  your  diving 
helmet!  It  is  sometimes  hard  to  walk  under 
water,  too.  The  currents  keep  pushing  you 
about  and  the  weighty  clothes  are  difficult 
to  manipulate.    But  it  must  be  fascinating. 

Dick  Arlen  plays  a  pearl  diver  and  a  bad- 
tempered  one  until  he — well,  I  won't  tell 
what  it  is  that  changes  him,  though  if  you 
are  any  good  at  guessing  you  know  right 
now.  He  goes  down  in  strange  waters  and 
his  helmet  is  not  right.  Then  Foul  Play- 
begins  and  Dick  is — whoa  again!  Anyhow, 
he  darn  near  dies  before  he  can  get  the 
thing  off. 

That  night  we  did  some  rain  scenes  out- 
side a  prop  store.  A  hose  supplied  the  rain 
which  had  to  be  turned  off  when  the  cam- 
eras began  to  grind.  It  was  just  necessary 
for  the  roof  to  drip  showing  that  it  was  a 
wet  night,  or  had  been. 

Gene  Pallette  was  on  the  job  again.  He 
had  made  good  with  the  fish  and  they  were 
great.  "They  ought  to  be.  I  spent  all  day 
(Continued  on  page  116) 


HY  is  Kleenex  in  the  dressing 
room  of  almost  every  star  in 
Hollywood  ? 

Because,  as  Virginia  Valli  says,  "It's 
the  modern,  sanitary  way  to  remove 
cold  cream  and  make-up." 

Kleenex  is  the  modern  way.  How 
much  daintier  to  use  an  immaculate  tis- 


USE  Kleenex  for  handkerchiefs — it  avoids 
reinfection  when  you  have  a  cold  .  .  .  is 
soft,  dainty  . . .  and  saves  laundry. 


sue  than  a  germ-filled  cold  cream  cloth  . . . 
or  a  harsh  and  unabsorbent  towel ! 

With  Kleenex  there's  no  rubbing  or 
stretching  the  skin.  You  just  blot.  Along 
with  the  cream  come  embedded  dirt  and 
cosmetic — which  harsh  cloths  often  rub 
right  back  into  the  pores. 

Kleenex  is  simply  discarded  after 
using.  If  you  don't  know  Kleenex,  start 
today  to  give  your  skin  the  care  it  de- 
serves. Buy  Kleenex  at  drug,  dry  goods 
and  department  stores. 

•>  Try  Kleenex  Free  <• 

Kleenex  Company,  si>io 
Lake-Michigan  Bldg.,  Chicago,  111. 
Please  send  a  sample  of  Kleenex  to: 

Name  

Address  

City  


116 


SCREENLAND 


Fo 


r  a 


clear 
beautiful 


A  clear,  beautiful  skin  attracts  and  holds 
attention  as  nothing  else  will  —  lor  the 
most  compelling  charm  is  a  smooth,  soft- 
textured  skin.  No  need  now  to  go  around 
with  a  poor  complexion.  Cara  Nome 
Cold  Cream,  Sk  in  Cream  and  Vanishinq 
Cream  take  away  injurious  grime  and 
dirt  and  do  not  grow  hair  on  your  face. 
Cara  Nome  Face  Powder,  smooth  and 
fraq  rant,  is  delicately  scented.  All  these 
are  moderately  priced  and  will  give  you 
an  alluring,  beautiful  complexion.  At  all 
Rexall  Drug  Stores  v/hich  includes 
Liggett  and  Owl  Stores;  there  is  a  Rexall 
Store  conveniently  near  you. 


NO  AGE  LIMIT  IN  HOLLYWOOD 


Continued  fr 

the  Tempest  role  in  New  York,  Charles 
Frohman  having  cabled  for  her.  She 
landed  at  noon  on  Christmas  Day  and 
played  a  matinee  before  she  had  time  to 
register  at  a  hotel. 

For  years  she  remained  with  the  Frohman 
Stock  Company  on  Broadway.  More  than 
a  quarter  of  a  century  ago  she  bought  a 
farm  on  Long  Island,  expecting  to  have  to 
retire,  but  engagements  came  thick  and  fast 
and  retirement  seems  farther  off  than  ever 
since  talkies  "have  made  acting  a  pleasure." 

She  says  that  queens,  duchesses  and  high- 
class  wickedness  are  her  dramatic  special- 
ties; and  dear,  dear,  if  that's  keeping  a 
youthful  outlook,  no  wonder  people  worry 
about  the  younger  generation! 

Herbert  Bunston,  the  Lord  Elton  of  "The 
Last  of  Mrs.  Cheyney,"  is  another  sipper  at 
Hollywood's  perennial-youth  fountain.  He 
created  this  role  on  the  London  stage, 
played  it  again  in  New  York,  and  went  on 
tour  with  it  through  this  country  before 
being  persuaded  to  re-create  it  on  the  screen. 

England  has  contributed  more  than  its 
quota  of  famous  oldsters  to  Hollywood,  in- 
cluding the  Belmores  (Lionel  and  Daisy), 
Alec  Francis  and  Emily  Fitzroy. 

That  romance  is  not  the  exclusive 
property  of  the  very  young  is  shown  by  the 
love  story  of  the  Alec  Francises. 

Alec  and  the  first  Mrs.  Francis  were  at 
the  Allied  Bazaar  in  Madison  Square 
Garden,  New  York  City,  where  he  was 
helping  entertain.  The  country  was  at  war. 
At  a  booth,  the  present  Mrs.  Francis,  then 
Mrs.  Elphinstone  Maitland,  widow  of  the 
celebrated  son  of  General  Maitland,  was 
exhibiting  pedigreed  dogs  for  the  cause.  The 
two  met,  casually.  Alec  dismissed  the 
prophecy  of  a  seer  in  another  booth  that  he 
had  that  day  met  his  second  wife  as  so  much 
foolishness. 

Years  went  by.  The  first  Mrs.  Francis 
died  and  Alec  became  well  known  on  the 
silver  sheet.  Mrs.  Maitland,  coming  to 
California  for  her  health,  was  taken  to  a 
studio  by  her  friend,  Madame  Elinor 
Glyn,  and  shown  the  set  where  the  actor  was 
working. 

"Why,  you're  the  dog  woman!"  he  cried. 
Cupid's  cue! 

Youth  no  longer  rules  the  screen.  Wit- 
ness Bodil  Rosing. 

Bodil  comes  from  a  long  line  of  stage  folk. 
Her  great-great-grandfather,  Michael  Ros- 
ing, the  Edwin  Booth  of  Norway,  was  the 
first  actor  in  Norway  to  be  recognized  by 
the  King.  He  was  received  at  court  and 
decorated  and  through  his  efforts  the  status 
of  actors  was  raised. 

When  Bodil,  at  sixteen,  was  leading 
woman  at  Copenhagen's  finest  theater,  so 
changed  was  the  position  of  the  actor  that 
the  King  and  Queen  often  visited  the 
theater  and  frequently  came  back-stage  to 
compliment  players  on  their  work.  They 
were  not  at  all  like  the  royalty  of  an  earlier 
day.  "Have  you  met  my  wife?"  the  King 
would  ask,  as  any  acquaintance  might  do. 

Marriage  took  the  actress  to  Seattle, 
Washington,  where  her  three  babies  were 
born.  One  of  them,  Tove  Jansen,  grew  up 
and  married  Monte  Blue,  and  it  was  at 


om  page  25 

Monte's  urging  that  Bodil,  after  a  successful 
career  on  the  American  stage,  decided  to  try 
pictures. 

"If  Marie's  in  the  picture,  I  don't  worry 
about  it,"  Robert  Leonard  told  me  the 
other  day.  He  referred  to  Marie  Dressier 
whose  spectacular  success  in  talkers  has  re- 
sulted in  her  being  starred  at  the  age  of 
"somewhere  near  a  thousand,"  as  she-puts  it. 

And  only  half  a  dozen  years  ago,  Marie 
told  a  ship  news  reporter  that  she  was  "just 
a  tired  old  woman  nobody  wants!" 

William  Farnum,  ten  years  ago  an  out- 
standing idol  of  the  screen ,  is  staging  a  come- 
back, too.  So  excellent  is  his  performance  in 
"Du  Barry"  with  Norma  Talmadge,  that 
he  is  finding  it  difficult  to  choose  from 
among  the  offers  that  have  poured  upon  him. 

Another  veteran  from  this  same  picture, 
Hobart  Bosworth,  sometimes  finds  it  neces- 
sary to  play  in  two  pictures  at  once.  He  is 
63,  but  as  popular  as  when,  forty  years  ago, 
he  played  leads  with  Julia  Marlowe,  Hen- 
rietta Crossman,  Amelia  Bingham  and  Mrs. 
Fiske. 

In  1900,  Mr.  Bosworth's  health  broke 
and  for  nine  years  he  waged  war  against 
tuberculosis,  living  in  tents  in  Colorado, 
Arizona  and  California.  But  these  years, 
which  the  locusts  might  have  eaten,  were 
fruitful  instead,  for  he  gained  fame  as  a 
writer  and  artist,  and  was  ready  with  re- 
newed power  when  the  time  came  to  enter 
motion  pictures. 

In  1914,  the  Bosworth  Film  Company 
merged  with  Famous-Players-Lasky,  and 
Hobart  became  again  an  actor.  The  list  of 
his  successes  in  the  succeeding  15  years 
would  take  up  the  rest  of  the  book. 

Veteran  players  of  the  silent  screen  who 
have  carried  their  popularity  over  into 
talkies  include  the  brothers  Beery,  Tully 
Marshall,  Lucien  Littlefield,  Robert  Edeson 
and  Louise  Dresser. 

There's  Myrtle  Stedman,  who  was  one 
of  our  very  first  picture  stars  and  the  heroine 
of  the  old  Charles  Van  Loan  stories,  now  do- 
ing mother  roles,  the  latest  in  "The  Little 
Accident"  for  Universal. 

There's  J.  Farrell  MacDonald,  who 
started  in  1908  in  the_  "Broncho  Billy" 
pictures,  and  is  now  dividing  his  time  be- 
tween Fox's  and  Warner's  with  scarcely  a 
pause  to  get  his  breath. 

There's  Ford  Sterling,  one-time  captain  of 
the  Keystone  Kops,  who  boasts  that  he  dis- 
covered Louise  Fazenda,  with  whom  he  re- 
cently played  comedy  lead  in  "Bride  of  the 
Regiment." 

Back  in  1916,  Eugene  Pallette  was  co- 
starring  with  Norma  Talmadge.  He  went 
to  war  and  when  he  returned  found  himself 
forgotten.  He  fought  his  way  up  again  in 
character  roles  and  in  1921  was  on  the  verge 
of  stardom  when  the  first  Metro  Company 
closed  its  doors. 

Eugene  turned  to  Texas  oil  fields  where 
within  a  year  he  had  made  and  lost  a  for- 
tune. A  long  struggle,  and  then  came  the 
talkies.  He  made  an  instantaneous  hit  in 
a  picture  called  "Out  of  the  Fog,"  and  has 
since  been  unable  to  fill  all  the  parts  for 
which  his  services  have  been  requested.  Of 
course,  you  all  know  him  well  as  Sergeant 
Heath  in  the  Philo-Vance  detective  films. 


ON  LOCATION  WITH  RICHARD  ARLEN 


cleaning  those  doggone  fish,  but  they  gave 
in  at  last."  He  was  performing  tricks  with 
a  cowboy's  rope,  some  stunts  he  had  learned 
while  on  "The  Virginian." 

"Are  you  going  to  rescue  someone,  Gene?" 
we  asked. 


Continued  from  page  115 


"Yeah.    I'm  going  in  and  catch  a  scene." 
Later  we  moved  to  the  wharf  where  Dick 
gets  into  a  fight  with  William  Gleckler  and 
tosses  him  into  the  water. 

Next  morning  the  ten  o'clock  boat  took  us 
home.     It  was  fun! 


DRUG 
STORE 


for   October  1930 


117 


WHY  I  LIKE  HOLLY- 
WOOD 

Continued  from  page  59 

whenever  I  enter  Hollywood  I  have  a 
sense  of  space,  freedom,  non-conformity ; 
whereas  in  New  York  I  must  wear  a  men- 
tal coat  of  mail  to  protect  myself  against 
crowd-vamp. 

Cities  have  aromas,  auras,  souls.  New 
York  is  a  city  of  stone,  gray  and  formid- 
able. Her  secret  is  like  that  of  the  Sphinx 
— for  the  ages  to  read.  If  Nathaniel  Haw- 
thorne had  written  "The  Great  Stone 
Face"  today  he  would  probably  have  laid 
it  in  New  York. 

The  New  Yorker  is  often  just  as  pro- 
vincial as  any  other  main-streeter.  In  the 
old  days  he  traveled  from  Jack's  to  Joel's 
and  from  Joel's  to  Delmonico's.  And 
today  he  is  a  Broadwayite,  a  Harlemite 
cr  a  Greenwich  Villager — always  tied  to 
a  narrow  section ;  whereas  Hollywood 
means  California  from  Santa  Barbara  to 
Tia  Juana. 

Hollywood  has  personality.  It  has  be- 
come Pierrette.  And  its  artist  lover — Mo- 
tion Pictures — is  Pierrot.  But  this  is  a 
new  Pierrette  and  a  new  Pierrot.  They 
are  no  longer  starving  in  a  garret,  but 
dancing  on  the  sunny  slopes  of  California 
with  orange  blossoms  in  their  hands  and 
hair.  Pierrette  and  Pierrot,  with  the  great 
Arizona  desert  at  night  for  a  French  win- 
dow, and  during  the  day — Toytown. 

Hollywood  is  the  most  gayly  bedecked, 
rambling,  climbing,  sprawling,  lazy,  play- 
ful town  in  all  the  world.  The  New 
Yorkers  hate  it  because  it  refuses  to  wear 
its  own  serious  Wall  Street  face. 

What  we  need  most  in  America  to-day 
is  the  play  spirit ;  a  divine  carelessness,  a 
sweet  do-nothingness.  There  is  something 
in  the  climate  of  Hollywood — a  psychic 
belt  revolves  there,  I  am  told  by  the  seers 
who  know  their  Bunyans — that  touches 
everybody  there  with  a  little  bit  of  moon- 
madness. 

However  that  may  be,  there  is  the  spirit 
of  the  bizarre,  an  irrational  something,  a 
gay  devil-may-care  camaraderie,  an  un- 
corseted  mind  that  runs  the  gamut  of 
everything  that  comes  to  hand. 

Diviners,  yogis,  soothsayers,  astrologers, 
long-haired  hermits  and  bare-footed  pil- 
grims abound  there  because  of  the  miracle 
money  that  breaks  out  every  day  like  the 
copo  de  oro — the  golden-hearted  poppies 
you  tread  underfoot.  The  Spirit  of  Chance 
is  everywhere.  Why,  today  you  may  be 
working  as  a  poor  extra  at  five  dollars  a 
day — tomorrow  you  may  be  called  to  take 
a  leading  part  in  a  super-special. 

Old  Cinderella  stuff — but  it  really  comes 
to  pass  in  Hollywood — and  nowhere  else 
in  the  world ! 

Now,  as  to  the  'morons'  we  hear  about 
— they  are  net  related  to  time  and  place. 
Here  in  New  York  I  lately  heard  a  sup- 
posedly cultured  woman,  one  who  is  in 
the  know  regarding  the  leading  writers 
and  their  works,  says  :  "I  had  The  Story 
of  My  Life,'  by  Isadora  Duncan,  but  I 
didn't  think  much  of  it — I  gave  it  away. 
Now,  my  opinion  about  'The  Cradle  of 
the  Deep'  is  that  it  is  the  greatest  auto- 
biography ever  written." 

I  had  nothing  to  say,  I  who  had  hugged 
Isadora's  book  to  my  heart  because  of 
the  great  idea  that  had  been  revealed  to 
her,  who  had  kept  this  idea  intact  through 
all  her  travail,  and  given  it  to  the  world — 
an  idea  as  sublime  as  any  creation  of  Wag- 
ner, or  any  of  the  great  poets.  What 
could  one  say? 

(Continued  on  page  119) 


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118 


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Name 
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SCREENL AND 

SING  AS  YOU  SPEAK!  SAYS  LAWRENCE  TIBBETT 

Continued  from  page  27 


sibilities,  was  a  great  incentive  to  me 
to  put  my  shoulder  to  the  wheel  and 
forge  ahead  to  victory.  You  may  be 
grateful  when  someone  says  of  you,  "He 
has  no  voice" ;  or  "She  will  never  be  a 
singer  in  a  thousand  years."  For  if  it's 
in  you  to  become  a  great  singer,  this  will 
be  the  match  that  will  ignite  the  'flame 
of  your  desire'  (that  would  be  a  good 
title  for  movie!). 

When  I  was  a  little  boy  I  wanted  to  be 
a  doctor,  a  painter,  a  writer,  an  actor ; 
with  each  rising  sun  I  had  a  new  ambi- 
tion, but  always  I  wanted  to  triumph  in 
whatever  I  undertook,  so  when  fate  led 
me  into  singing,  because  I  could  not  keep 
from  singing,  I  had  the  desire  to  perfect 
my  singing  at  every  turn.  Someone  asked 
me  whether  it  was  true  that  I  used  to  sing 
high  notes  at  seven-thirty  A.  M.  A  stu- 
dent he  knew  in  Italy  told  him  this  story 
of  me.  He  said  I  used  to  come  to  his 
house  here  in  Los  Angeles  before  break- 
fast and  say  to  him,  "Listen  to  that  note 
— until  I  get  it  clear  and  ringing  before 
breakfast  I  won't  feel  that  my  voice  is 
placed."  Now  that's  a  good  story  to  stir 
ambition,  so  I  repeat  it.  I  don't  remember 
doing  just  that  but  I  do  know  that  I  used 
to  work  hours  a  day  to  get  my  high  notes 
clear  and  free.  For  without  any  mock 
modesty  I  would  like  to  say  that  I  do  not 
feel  I  am  blessed  with  a  super-organ  of 
any  kind — when  I  began  my  voice  was 
unusually  small ;  I  have  never  forced  it, 
for  though  I've  made  many  mistakes  in 
singing  which  I've  had  to  rectify  as  I 
went  along  the  rocky  way  to  songland, 
forcing  my  voice  was  not  one  of  them. 
Yet  with  constant  singing,  my  voice  has 
grown  steadily  and  evenly. 

Singing  is  an  outward  expression  of 
what  is  within  your  soul.  I  like  to  think 
of  singing  not  as  bel  canto  but  as  canto 
expressivo,  for  life  is  not  always  beautiful, 
therefore,  you  cannot  always  express 
beauty.  Singing  should  be  an  expression 
of  life  in  all  its  phases.  If  you  are  ex- 
pressing torture  or  pain,  sin  or  sorrow — 
beautiful  velvety  tones  do  not  express  it. 
So  one  ought  to  have  ugly  tones  in  one's 
voice  with  which  to  express  ugliness.  But 
let  me  say  here  that  I  have  two  pieces  of 


advice  to  give  young  singers  which  are 
pretty  safe  to  follow  always:  You  cannot 
sing  unless  you  open  your  mouth  and  the 
smiling  mouth  is  suicide  to  most  voices. 
This  applies  to  ninety-nine  percent  of  sing- 
ing. There  may  be  times  when  a  grin  of 
irony  or  a  smile  of  joy  would  be  neces- 
sary to  the  part  you  were  singing,  or  a 
closed  mouth  or  grinding  of  teeth  might 
be  needed  to  express  a  thought,  but  these 
are  exceptions.  Generally  speaking,  to 
sing  with  a  well-opened  mouth  and  to 
avoid  the  smiling  mouth  are  excellent 
pieces  of  advice  to  all  singers. 

I  am  still  as  nervous  as  a  school  boy  in 
his  first  play  when  I  sing  the  opening  bars 
of  an  opera  or  at  a  concert.  Even  on  the 
motion  picture  sets  I  have  experienced 
nervousness.  It  is  a  rare  thing  for  me 
to  be  free  from  this  agony.  Some  singers 
say  they  overcome  it  after  years  and  years 
of  singing.  I  don't  know  that  I  ever  will. 
The  other  night  I  was  singing  the  oratorio 
"Elijah."  I  had  not  sung  as  much  as  I 
am  accustomed  to  these  past  weeks  and 
although  I  had  worked  a  lot  for  a  few 
days  previous  to  the  concert,  when  I  heard 
the  first  few  notes  coming  out  of  my  mouth 
I  was  frightened  (figuratively)  to  death. 
It  took  almost  the  entire  evening  for  this 
to  pass  away.  Of  course,  nervousness  that 
stiffens  the  muscles  of  the  throat  or  dia- 
phragm is  dangerous  to  a  singer,  but  just 
this  stage  fright  that  we  all  have,  is  some- 
times a  good  thing  to  keep  one  on  one's 
mettle  and  it  often  inspires  a  singer  to 
lift  out  of  himself  and  depend  upon  a 
higher  force. 

Let  me  say  in  closing,  you  need  heart 
and  intelligence  and  the  great  desire  to 
sing.  You  need  to  be  brave  and  imper- 
sonal to  the  knocks  and  criticisms  you  will 
receive  from  those  to  whom  you  look  for 
praise.  But  let  me  impress  upon  you  again 
— it  isn't  praise  and  flattery  that  has  made 
me  go  even  as  far  as  I  have  today — I 
hope  to  go  much  farther.  It  is  often  to 
those  who  almost  broke  your  heart  at  the 
time  to  whom  you  owe  your  big  success/ 
Last  but  not  least,  I  say  to  you —  "You 
will  become  a  singer  as  surely  as  tomor- 
row's sun  will  rise  if  you  are  unable  to 
prevent  yourself  from  singing." 


A  happy  trio!  Lawrence  Tibbett,  Buster  Keaton  and  Edward 
Sedgwick,  Buster's  director,  give  a  soulful  rendition  of  "Sweet 

Adeline." 


for    October   19  3  0 


119 


WHY  I  LIKE  HOLLY- 
WOOD 

Continued  from  page  117 

Morons  are  not  made  or  unmade ;  they 
'  are  not  indigenous  to  Hollywood  or  New 
York.    They  are  like  geniuses — they  are 
born. 

I  have  only  pleasant  memories  of  Holly- 
wood and  of  all  the  gay,  great-hearted 
people  who  entertained  me  there.  There 
were  nights  at  the  Writers'  Club,  where 
interesting  one-act  plays  were  given  and 
the  roles  were  interpreted  by  the  best 
talent,  for  in  Hollywood  there  is  always 
to  be  found  a  great  cosmopolitan  round- 
up of  the  people  who  have  spent  most  of 
their  life  on  the  stage.  Hollywood  Boule- 
vard is  the  real  Rialto  of  America — yes, 
of  the  world ! 

It  was  in  Hollywood  that  I  saw  a  much 
finer  production  of  "All  God's  Chillun 
Got  Wings,"  by  Eugene  O'Neill,  than  I 
had  seen  in  New  York.  It  was  in  Hollv- 
wood  that  "Lazarus  Laughed,"  O'Neifl's 
titanic  spectacle,  was  produced.  It  has  not 
yet  been  done  in  slow-poke  New  York. 
I  saw  "The  Light  of  Asia,"  done  by 
Walter  Hampden,  in  Hollywood  years  be- 
fore it  was  produced  in  New  York. 

Gay,  bright,  colored,  open-air  Pierrette 
and  Pierrot,  they  have  wandered  down  the 
centuries  and  found  a  haven  in  southern 
California,  with  Cinderella  and  Prince 
Fortunatus ! 


WHY  I  DON'T  LIKE 
HOLLYWOOD 

Continued  from  page  58 

at  me  as  though  he  had  a  lunatic  to  deal 
with :  Here  was  the  first  human  being 
ever  heard  of  who  chucked  a  contract  to 
go  to  Hollywood,  and  with  such  an  old 
billion-dollar  concern !    I  walked  out. 

At  home  I  formulated  a  scheme  that 
would  prevent  them  from  ever  inviting 
me  again,  for  I  knew  they  would  raise 
the  offer  alter  my  first  refusal.  I  des- 
patched a  special  delivery  letter  to  the 
treasurer  in  which  I  named  a  figure  so 
high,  with  conditions  about  de  luxe  trans- 
portation for  self  and  wife  going  and 
coming  back,  advance  money  and  condi- 
tions regarding  the  renewal  of  the  contract 
that  no  sane  treasurer  and  watchdog  of 
the  mazuma-box  could  help  immediately 
tossing  into  the  waste-basket  and  then 
notifying  the  police  that  a  thief  was  at 
large. 

"That'll  fix  'em !"  I  said  to  my  wife  as 
I  immediately  began  to  write  my  book  on 
Spinoza. 

Forty-eight  hours  later  I  got  this  tele- 
gram from  the  treasurer : 

"West  Coast  0.  K.'s  all  your  condi- 
tions. See  me  for  contract.  You  start 
Nov.  1." 

I  threw  up  the  sponge.  I  couldn't  back 
out  now.  They  had  called  my  bluff,  and 
what  the  seer  in  Michigan  had  foretold 
had  come  to  pass. 

I  was  in  Hollywood  early  in  Novem- 
ber, and  on  New  Year's  Day  I  stood 
under  the  California  palms  with  the  seer, 
as  he  had  foretold ! 

That's  how  I  was  literally  shanghaied 
into  Hollywood  by  Fate  and  Mammon. 
And,  although  I  spent  the  most  pros- 
perous six  months  there  I  ever  had  spent 
in  my  life,  I  could  hardly  wait  for  the 
six  months  to  elapse  so  that  I  could  get  on 
a  train  for  New  York.  (And  I  might 
(Continued  on  page  122) 


SHE  CAN'T  PLAY  A  NOTE 


Thisll  be  runny 

they  shouted  as  she 
sat  down  to  play 

  hut  a  minute  later. . 


I GUESS  we're  stuck  right  here  in  the  club 
for  the  afternoon,"  sighed  Jane,  as  the 
rain  began  coming  down  in  torrents. 

"I  suppose  this  means  more  bridge,  and 
I'm  tired  of  that,"  said  John  Thompson. 
"Can't  we  find  something  unusual  to  do?" 

"Well,  here  comes  Sally  Barrow.  She  might 
offer  a  solution  to  the  problem,"  suggested 
Jimmy  Parsons. 

Poor  Sally!  Unfortunately  she  was  con- 
siderably overweight.  Nevertheless  the  boys 
all  liked  Sally — -she  was  so  jolly  and  full  of  fun. 

"Hello  everybody,"  came  Sally's  cheery 
greeting,  "What's  new?" 

"That's  just  it,  Sally,  we've  just  about 
reached  the  end  of  our  rope,"  replied  John. 

"Would  it  surprise  you  if  I  played  a  tune  or 
two  for  you  on  the  piano?" 

"You  play,  Sally?  Don't  be  funny!"  The 
very  idea  of  Sally  having  talent  in  any  direc- 
tion struck  everybody  as  a  joke.  However, 
Sally  didn't  mind  being  laughed  at — as  long 
as  John  Thompson 
didn't  join  in  the 
laughter.  Sally  liked 
John — more  than  she 
cared  to  admit. 

Sally  walked  non- 
chalantly over  to  the 
piano.  Carelessly,  she 
played  a  few  chords. 
Then,  just  as  if  she  had 
played  for  years,  Sally 
broke  into  the  latest 
Broadway  hit.  Her 
listeners  couldn't  be- 
lieve their  ears!  Sally 
continued  to  play  one 
lively  tune  after  an- 
other. 

Finally  she  rose 
from  the  piano.  John 
Thompson  was  at  her 
side  immediately. 
"Where     did  you 


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learn?  Who  was  your 
teacher?"  John  asked. 

Sally's  Secret 

"You  may  laugh  when  I 
tell    you,"    Sally  explained, 
"But   I   learned   to   play  at 
home,    without    a  teacher. 
You  see,  I  happened  to  see  a 
U.  S.  School  of  Music  advertise- 
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stration Lesson  so  I  wrote  for  it. 
When  it  came,  and  I  saw  how  easy 
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course.      Why,    I    was  playing 
simple  tunes  by  note  right  from 
the  start.    It  was  just  as  simple 
as  A-B-C  to  follow  the  clear  print 
and    picture    illustrations  that 
came  with  the  lessons.    Now  I  can 
play  many  classics  by  note  and 
and  most  all  the  popular  music." 
Today,  Sally  is  one  of  the  most 
popular  girls  in  her  set.    And  we  don't  need  to  tell 
you  that  she  and  John  are  now  engagedl 

This  story  is  typical.  The  amazing  success  of 
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FASHION  NEWS — Continued  from  page  53 


in  knowing  that  this  and  other  fall  dresses 
will  have  no  high  waistlines.  The  Autumn 
waistline  is  absolutely  natural — that  is, 
resting  on  the  hips,  just  at  the  out- 
curve  below  the  normal  waist.  Women 
have  quite  rightly  rebelled  about  the  high 
line.  It  was  impossible  for  corset  manu- 
facturers to  make  a  corset  to  suit  every 
individual  figure  so  that  this  high  line  could 
be  worn.  And  after  a  woman  had  experi- 
mented with  several  different  kinds  of 
corsets  and  brassieres  unsuccessfully,  she 
refuses  to  go  on. 

Now  you  have  your  dress  and  your  coat. 
But  there  is  still  another  feature  of  this 
ensemble.  It  is  a  buttoned-on  skirt,  of  the 
same  color  and  material  as  the  coat.  This 
can  be  buttoned  on  over  the  dress  for  the 
morning,  for  sports,  or  for  an  informal 
luncheon,  and  removed  for  the  afternoon 
or  for  an  informal  tea,  making  it  possible 
to  start  out  early  in  the  day  and  carry 
through  until  the  dinner  hour  with  the 
minimum  of  effort. 


Raymonda  Brown  has  beauty 
plus  ability — she's  a  dancer  un- 
der contract  to  Fox  Movietone. 


At  this  time  of  the  year,  summer  evening 
coats  are  beginning  to  seem  quite  passe 
and'  insufficient.  And  we  are  casting  long- 
ing eyes  around  for  new  wraps  for  nights  of 
delicious  dancing  and  other  pleasuring. 

Evening  coats  hold  first  place  of  all 
autumn  fashions.  More  care  and  artistry 
have  been  lavished  on  them  than  any  other 
single  article  of  wearing  apparel.  Gorgeous 
is  the  only  word  that  will  describe  them. 
In  an  endless  variety  of  color,  weight  and 
fabric,  the  outstanding  feature  about  them 
is  the  sleeve.  One  which  I  created  for 
Mrs.  George  Fitzmaurice  had  large,  puffy 
sleeves,  somewhat  like  the  old  leg-of-mutton 
type.  Another  gave  the  effect  of  a  cape. 
And  there  is  still  a  third  type  of  evening 
wrap  which  is  draped  like  a  blouse. _  Isn't 
that  novel?  One,  a  short  ermine  jacket, 
with  roll  collar,  fitted  in  at  the  waist,  and 
widening  out  over  the  hips  where  it  ends 
abruptly,  takes  you  back  somewhat  to  the 
days  of  tippet  and  muff.  But  ah,  how 
carefully  you  must  watch  your  furrier  to 
see  that  the  cut  gives  one  the  last  touch  of 
modernity  instead  of  making  it  look  as 
though  the  coat  had  been  taken  out  of 
great-aunt's  old  tin  trunk  in  the  attic! 


And  now  to  evening  dresses!  Invitations 
to  the  first  formal  dance  of  the  season  will 
make  even  the  freshest  of  one's  last  summer's 
dinner  dresses  seem  like  so  many  wispy  rags. 

For  this  part  of  the  wardrobe,  one  must 
be  extremely  careful.  The  dresses  that 
molded  the  figure  from  the  bust  to  the 
knees  are  now  quite  outre.  New  months, 
new  modes — that's  the  answer.  Nor  will 
such  a  large  slice  be  cut  out  of  the  backs  of 
evening  gowns.  Society  ladies  are  deciding 
not  to  show  so  many  of  the  vertebrae  as 
they  did  last  winter. 

So  that  you  may  have  your  evening 
gowns  exactly  right,  I  should  suggest  that 
the  skirt  fullness  begin  at  the  hip  line  or  a 
bit  above.  And  that  if  you  must  have  an 
extremely  low  back,  a  scarf  or  cape  be  used 
to  cover  this  expanse.  The  sleeves,  will,  of 
course,  puff  out  from  the  shoulder,  giving 
the  waist  that  slim  look  of  quaintness  which 
is  so  flattering.  t 

The  colors  will  be  black,  white,  antique 
ivory,  garnet-red,  and  all  pastel  shades.  In 
this  connection,  it  is  interesting  to  know 
that  the  velvet  and  the  satin  manufac- 
turers have  not  been  sitting  out  under  the 
trees  this  summer  sipping  long,  cool  drinks 
out  of  tall  glasses.  They,  too,  have  been 
unusually  busy.  All  the  old  gowns  and 
court  dresses  resting  in  museums  and  pri- 
vate collections  have  been  unearthed  and 
studied  as  carefully  as  the  new  contract 
bridge  rules,  with  the  result  that  there  is  a 
new  Lyons  velvet,  exactly  like  the  stiff  old 
velvet  we  used  to  see  in  ancient  oil  paint- 
ings, but  as  soft  now  as  baby's  breath.  All 
the  antique  satins  and  velvets  have  been 
so  carefully  analyzed  that  now  they  can  be 
perfectly  imitated  and  we  have  old-ivory, 
old-gold  satin,  old-garnet,  old-ashes-of- 
roses  velvet,  and  a  breath-taking  gamut  of 
other  colors  and  fabrics. 

One  of  the  bright  sides  of  the  new  modes 
is  that  the  great  designers  like  Molyneux, 
Lanvin,  Worth  and  Chanel  are  working  on 
a  classic  basis  instead  of  working  on  fads. 
Many  of  the  most  stunning  evening  gowns 
will  be  Greek  gowns.  One  which  I  created 
for  Hedda  Hopper  is  of  old-ivory  satin. 
The  entire  material,  pleated  in  small  pleats, 
is  cut  exactly  like  a  Greek  costume,  "V" 
neck,  and  with  two  bands  running  from 
shoulder  to  hip  and  crossing  at  the  waist  to 
give  a  "V"  effect  at  top  and  bottom.  The 
swirl  of  the  pleats,  the  gleam  of  the  per- 
fectly simulated  antique  satin,  the  subtlety 
of  the  cut,  and  the  grace  of  the  completed 
model  combine  to  make  an  evening  gown  of 
incomparable  beauty.  I  think  it  is  the  love- 
liest one  I  have  designed  for  the  coming 
season.  Naturally,  it  takes  a  distinguished 
type  to  carry  off  such  sheer  natural  beauty 
of  line  as  this  dress  imposes. 

Another  evening  dress  which  I  designed 
for  Claire  Luce  remains  in  my  memory.  It 
was  of  pale  lemon  organdy,  tight-bodiced, 
puffed-sleeved,  wide-skirted,  trimmed  at  the 
bottom  with  alternating  bands  of  the  mate- 
rial and  real  Valenciennes  lace.  Usually  for 
Miss  Luce,  I  do  something  more  sophisti- 
cated but  this  gave  the  perfect  setting  for 
her  jeune  fille  beauty. 

In  modeling  your  clothes  after  screen 
stars,  you  are  safe  in  following  Lilyan 
Tashman,  Kay  Francis,  Constance  and 
Joan  Bennett,  Gloria  Swanson,  Mary  Pick- 
ford,  Ina  Claire,  Madge  Kennedy,  Evelyn 
Brent,  Ruth  Chatterton,  Bebe  Daniels  and 
Claire  Luce.  Naturally,  there  are  others, 
but  of  these  dozen  I  am  sure,  as  I  have  de- 
signed clothes  for  them  and  have"  carefully 
studied  their  style  flairs.  Without  excep- 
tion, they  understand  clothes  values. 
(Continued  on  page  123) 


for    October  1930 


121 


"SALLY,"  "SUNNY,"  AND  MARILYN 
Continued  from  page  31 


won't  be  tragic.  There  won't  be  any  high 
emoting  so  far  as  I'm  concerned." 

Which  recalls  the  fact  that  Miss  Miller 
is  probably  the  only  feminine  player  in  the 
world  who  has  never  cherished  an  ambi- 
tion to  play  Juliet.  She  laughingly  admit- 
ted this  in  New  York  last  Spring  to  an 
interviewer,  who  was  duly  astonished. 

In  a  word,  she  is  utterly  without  pre- 
tension. A  certain  motion  picture  maga- 
zine published  an  article  some  time  ago  de- 
claring that  Marilyn  was  extremely  ritzy 
and  haughty  on  her  last  visit  to  Holly- 
wood when  she  was  making  "Sally."  The 
present  writer,  finding  this  very  hard  to 
believe,  asked  Miss  Miller  if  it  was  really 
true  that  she  high-hatted  various  people. 

"No!"  she  declared  very  vigorously.  "I 
couldn't  be  that  way  if  I  wanted  to."  And 
then,  with  laughter  in  her  eyes,  she  added : 
"Even  if  I  started  out  to  be  that  way,  I 
couldn't  keep  it  up." 

And  that  is  simply  the  case.  She  must 
always  be  her  natural  self.  It  is  the 
characteristic  that  will  always  prevent  her, 
as  she  admits  herself,  from  becoming  an 
emotional  actress.  She  always  displays 
the  one  personality — is  always  the  one  and 
only  Marilyn  Miller. 

She  has  simply  loads  of  friends — and  of 
the  most  amazing  variety  of  types.  A 
sort  of  cross-section  of  them  appeared  at 
the  Grand  Central  Station  in  New  York  to 
bid  her  good-bye  when  she  recently  started 
West,  bound  for  Hollywood  and  the  new 
screen  edition  of  "Sunny." 

At  least  three  dozen  people  were  on 
hand.  Some  were  actors;  some  were 
Broadway  playboys  of  purest  ray  serene; 
there  was  at  least  one  aunt,  as  well  as 
three  or  four  children  who,  one  gathered, 
were  nephews  and  nieces.  Also,  there  were 
people  whom  it  was  quite  impossible  to 
classify— not  to  forget  one  of  the  secre- 
taries, who  was  not  to  accompany  Marilyn 
to  California.  Tears — yes,  tears! — were 
in  the  eyes  of  the  secretary,  which  made  it 
quite  evident  that  she,  too,  is  human  out- 
side office  hours. 

The  aunt,  the  children  and  the  secretary 
were  kissed  good-bye.  And — "I  certainly 
do  hate  to  see  that  girl  go !"  said  the  aunt. 

The  Broadway  playboys  looked  as  though 
they  heartily  agreed. 

One  of  the  nicest  things  about  Marilyn 
Miller  is  that  she  doesn't  knock.  You 
may  know  her  well  for  a  very  long  time 
indeed  without  hearing  her  say  one  word 
against  anybody.  This  is  rare  in  the  the- 
atrical world — including,  by  all  means,  the 
motion  picture  world. 

But  she  does  cherish  a  rather  strong  re- 
sentment against  the  Gerry  Society,  which 
made  it  impossible  for  her  to  appear  in 
New  York  as  a  child  actress  and  dancer. 
All  the  Millers — parents  and  youngsters — 
were  on  the  stage,  and  Marilyn  made  her 
debut  at  the  age  of  five  as  Miss  Sugar- 
plum. In  many  cities,  however,  organiza- 
tions devoted  to  child  welfare  prevented 
her  appearance ;  and  she  says  that  she  used 
to  insist  on  her  mother  dressing  her  for 
the  stage  even  when  she  was  not  allowed 
to  perform ;  and  then  she  would  stand  in 
the  wings  and  cry,  a  forlorn- little  spangled 
figure. 

"We  were  better  taken  care  of,  better 
clothed   and   better   educated   than  most 


children,"  she  declares ;  and  it  is  quite  ap- 
parent that  she  has  not  forgiven  those 
child  welfare  societies  to  this  day. 

She  likes  parties ;  she  likes  to  go  to  the 
legitimate  theater  and  to  the  movies ;  she 
likes  books — that  is,  within  the  limits  of 
fiction,  for  Marilyn  is  anything  but  a  high- 
brow. But  most  of  all,  one  may  be  quite 
sure,  she  likes  to  dance.  The  strains  of  a 
hurdy-gurdy  outside  the  window  are 
enough  to  set  her  feet  tapping  and  her 
body  swaying. 

She  likes  Paris  and  London,  where  she 
often  goes,  but  where  she  has  never  ap- 
peared professionally  since,  at  the  age  of 
fifteen,  she  was  the  sensation  of  the  Em- 
bassy Club  in  London.  But  she  is  a  very 
staunch  American.  Not  long  ago  a  motion 
picture  critic  in  New  York  asked  her  if 
she  didn't  prefer  the  European  cities  to 
those  of  her  native  land. 

Marilyn  replied  emphatically  in  the  neg- 
ative. "Of  course,  they're  wonderful  and 
I  love  to  go  there,  but  this" — and  with  one 
sweep  of  the  arm  she  seemed  to  include 
the  whole  of  the  U.  S.  A. — -"this  is  my 
own !" 

She  likes  beautiful  clothes  and  knows 
how  to  select  them.  If  the  half-dozen  best- 
dressed  women  in  America  could  be  au- 
thoritatively chosen,  Marilyn  Miller  would 
certainly  be  one  of  them. 

She  practices  dancing  every  day.  She  is 
fond  of  outdoor  sports,  but  not  of  walking 
for  its  own  sake.  If  it  is  necessary  to  go 
two  blocks,  she  will  make  the  journey  in 
her  town-car. 

Her  choice  of  words  in  conversation  is 
excellent.  So,  be  it  recorded,  is  her  choice 
of  subjects.  She  has  never  smoked  and 
she  drinks  only  wine,  and  very  little  of 
that.  She  is  a  daughter  of  Dixie,  and  ex- 
tremely proud  of  it. 

Loyal  to  her  friends,  she  is  also  likely 
to  be  devastatingly  frank  with  them.  Re- 
cently a  musical  comedy  actress  who  had 
played  with  her  in  some  of  her  greatest 
stage  successes  was  starred  in  a  show 
which  came  as  near  to  Broadway  as  a  try- 
out  theater  in  Brooklyn,  and  there  died  dis- 
mally. Before  the  demise  of  this  ill-fated 
entertainment,  Marilyn  went  over  to 
Brooklyn  in  a  driving  rainstorm  to  see  her 
girl  friend  perform.  After  the  show  she 
went  behind  the  scenes  and  was  asked  by 
the  heroine:  "Well,  how  did  I  do?" 

The  reply  was  characteristically  honest. 
"Mary,  you  were  terrible !" 

They  are  still  friends. 

Whenever  a  new  show  or  picture  of  hers 
appears,  Marilyn  has  a  fit  of  blue  devils 
and  steels  herself  against  certain  failure. 
But  there  hasn't  been  a  failure  yet. 

She  is  a  girl  of  sharply  alternating 
moods.  When  she  is  sad  she  is  very,  very 
sad;  and  when  she  is  gay  she  giggles — 
there's  no  other  word  for  it. 

So  often  people  of  the  theater  and  the 
screen  are  disappointing  when  one  meets 
them  in  the  flesh.  But  if  you  have  liked 
"Sally"  on  stage  and  screen,  and  "Sunny" 
and  "Rosalie"  on  the  stage,  you  are  cer- 
tain to  like  Marilyn  Miller  if  you  are 
ever  fortunate  enough  to  make  her  ac- 
quaintance. 

For  she  is  "Sally,"  "Sunny"  and  "Ros- 
alie ;"  and  they  are  Marilyn  Miller ! 


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122 


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WHY  I  DON'T  LIKE  HOLLYWOOD 

Continued  from  page  119 


Painting  photos  and  miniatures.  No 
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Name   

City  ■  State  


say,  in  parenthesis,  that  I  have  never  heard 
any  one  in  Hollywood  say,  "Well,  I'm 
going  to  New  York  tonight !"  that  almost 
every  person  within  hearing  didn't  say, 
"Wish  I  were  going  with  you!") 

Well,  my  intuitions  were,  as  usual,  right. 
I  didn't  like  Hollywood  before  I  saw  it; 
I  liked  it  less  after  living  and  prospering 
there,  and  I  like  it  less  and  less  the  more 
I  think  about  it. 

Why?    Why  didn't  I  like  Hollywood? 

Because  the  whole  town  is  underdone, 
half-baked  and  over-done.  There  is  noth- 
ing normal  in  the  place — not  even  the 
weather.  In  fact,  there  is  no  weather  in 
Hollywood — there  is  only  sunshine. 

This  sunshine  so  permeates  and  soaks 
everything  and  everybody  until  solid,  acid, 
rough-hewn,  multi-moody  human  nature 
has  quite  disappeared.  Everybody's  face, 
I  thought  immediately  after  my  arrival, 
was  a  compound  of  mush  and  sunshine. 

Take  any  person  of  character — male  or 
female — who  has  lived  in  one  of  the  big 
four-seasonal  cities  and  after  a  year's  resi- 
dence in  Hollywood  he  or  she  will  look 
like  a  piece  of  angel-cake. 

This  change  is  brought  about  by  the 
lack  of  variety  in  the  life  of  the  place, 
the  laziness  superinduced  by  the  limp, 
breezeless  air ;  the  total  absence  of  all 
signs  of  struggle  and  battle,  and  the 
gradual  mummification  of  the  mind, 
grooved  into  four  subjects — motion  pic- 
tures, talking  motion  pictures,  singing  mo- 
tion pictures,  motion  pictures. 

In  this  Arcadian  vacuum  all  creative 
work  is  impossible.  Los  Angeles  (and 
Hollywood  is  only  a  post-office  station  in 
Los  Angeles)  is  the  only  large  city  in 
America  that  has  never  to  my  knowledge 
contributed  a  single  writer,  painter,  poet, 


sculptor  or  musician  to  the  country.  What 
mental  activity  there  is  in  this  city  is  in 
the  post-office  station,  Hollywood — and 
this  mental  activity  is  purely  imitative  and 
adaptive. 

I  disliked  Hollywood  because  it  is  a 
purely  manufactured,  over-night  city  where 
I,  like  all  the  rest  of  the  workers  out  there, 
went  only  to  get  the  fat  pickings. 

There  is  no  song,  Take  Me  Back  to 
Dear  Old  Hollywood !  Merely  to  write 
it  would  cause  a  colossal  guffaw  from 
coast  to  coast.  Why?  I  leave  it  to  the 
secret  session  of  each  Hollywooder  with 
himself  why  Take  Me  Back  to  Dear  Old 
Hollyzvood!  will  never  be  written  except 
as  a  satire. 

And  I  say  this  more  in  sorrow  than  in 
anger,  for  I  love,  and  have  always  boosted 
and  always  will  boost,  the  motion  picture 
when  it  is  good — that  is,  artistic,  uncom- 
promising with  life  as  it  is,  or  when  it 
presents  some  fine  piece  of  sophistication 
or  ideal  beauty. 

The  'trouble'  with  the  motion  picture 
is  Hollywood.  I  felt  like  a  barely  gal- 
vanized corpse  when  I  was  there,  for  it 
is  a  place  where  they  dull  diamonds  and 
polish  pebbles,  to  borrow  a  phrase  from 
Ingersoll. 

The  minute  I  returned  to  New  York  I 
began  to  create.  Ideas  began  to  pullulate 
in  my  brain.  It  was  springtime  again  in 
my  psyche,  while  in  Hollywood  it  was 
always  as  dry  and  sterile  as  the  San 
Gabriel  River,  in  whose  basin  the  boys 
play  baseball  and  little  girls  gather  daisies. 

Hollywood  is  the  Pathos  of  Emptiness. 

But  would  I  return  to  Hollywood? 
Sure.  But  I  will  dictate  the  contract,  the 
conditions  and  the  length  of  time.  It's  a 
great  town  out  of  which  to  carry  fat 
drafts  on  New  York. 


THE  STAGE  IN  REVUE — Continued  from  page  93 


drama  will  grow  narrower  and  narrower. 
But  this  very  fact  will  spur  on,  fecundate, 
as  it  were,  the  eggs  in  the  brain  of  those 
men  and  women  who  desire  to  produce  for 
the  speaking  stage  alone.  Men  like  O'Neill, 
Bourdet,  Pangol,  Pirandello,  George  Kelly 
and  others  do  not  care  a  near-beer  whether 
their  stuff  ever  gets  on  the  Hollywood 
circuit  or  not. 

There  is  in  man  a  Dramatic  Instinct,  a 
love  of  the  Play,  of  the  Theater  for  itself 
alone.  It  is  an  immanent,  indestructible 
instinct,  and  this  instinct  will  always  find 
its  outlet  and  its  audiences. 

The  talkies,  by  cleaning  up  for  screen 
production  the  vast  litter  of  Broadway 
plays  that  are  salable  to  movie  audiences, 
will  leave  the  theater  more  and  more  to  its 
legitimate  business:  the  production  of  plays 
that  do  not  make  their  appeal  to  anything 
or  anybody  but  audiences  that  want  to  see 
live  human  beings  on  the  stage  in  plays 
that  are  taboo  to  the  Haysian  Hierarchy: 
for  instance,  "The  Green  Pastures,"  "Ly- 
sistrata,"  and  "Lost  Sheep." 

There  will  never  be  any  substitute  for  a 
human  being  in  the  arts  or  anywhere  else. 

You  can  hear  the  Philharmonic  Orchestra 
over  the  radio.  But  Carnegie  Hall  is 
jammed  to  the  doors  just  the  same. 

You  can  hear  Paderewski  on  your  phono- 
graph record.  But  try  to  get  in  Carnegie 
Hall  when  the  man  in  person  appears! 

All  the  Caruso  records  in  the  world  never 
kept  a  person  out  of  the  Metropolitan 


Opera  House  when  he  was  going  to  sing. 
And  so  on. 

The  same  law  applies  to  the  talkies. 
Announce  John  Barry  more  or  George 
Arliss  on  Broadway  in  a  great  non-talkie 
play  and  he  is  a  sell  out  for  months. 

Therefore,  I  thank  the  talkies:  they  are 
going  eventually  to  leave  to  us  the  Stage 
as  it  was  and  as  it  ought  to  be:  an  art  with 
its  own  laws  and  its  own  destiny. 

I  lately  took  my  test  try-out  (as  auditor- 
spectator)  on  some  talkies.  I  was  bitterly 
opposed  to  them  at  first.  A  moving  picture 
should  be,  I  believed,  just  what  it  is  called— 
a  moving  picture;  in  a  word,  a  picture  that 
moves,  that  is  seen  and  not  heard.  But  I 
stood  on  the  track  shouting  in  vain — -for 
the  big  bullgine  of  Progress  ran  over  me 
and  blew  me  a  whistling  laugh  as  it  screeched 
onward. 

Picking  up  my  scattered  members,  I 
selected  three  talkies  to  see  whether  I 
would  remain  an  old  fogy  or  not. 

Well,  chillun,  I  kind  o'  went  talkie! 

I'm  sort  of  afraid  to  go  see  any  more 
because,  like  the  teetotaler  and  the  bottle, 
I  might  get  to  like  the  stuff  if  I  didn't  keep 
from  smellin'  'round  it! 

"Journey's  End"  was  my  first  try-out. 
It  fascinated  me  from  beginning  to  end. 
Of  course,  it  isn't  a  moving  picture  at  all. 
It  is  a  sheer,  ninety  per  cent  talkie.  I  liked 
it  better  than  the  play. 

This  talkie  is  a  revelation— was  to  me — • 
of  the  possibility  of  how  vividly  emotions 
{Continued  on  page  126) 


for    October  1930 

MAUREEN  FROM  DUBLIN  —  Continued  from  page  66 


123 


Ireland,"  said  I.  "Is  it  so  different  from 
Hollywood?" 

"Not  really  different,"  said  Maureen, 
thoughtfully.  "The  boys  act  differently. 
They  are  more  noisy  over  here.  And  very 
casual.  They  think  nothing  of  calling  up 
at  the  last  moment  when  they  want  you 
to  go  some  place.  Over  there  life  is  more 
formal.  But  Dublin  itself  is  just  like  any 
other  place.  Just  a  smaller  New  York, 
really." 

And  she  found  no  orgies  and  all  that 
here? 

But  Maureen  just  scoffed.  A  pooh  and 
tush  for  orgies !  I  fished  around  for  more 
bright  questions.  "What  do  you  like  to  do 
most?"  and  "where  do  you  like  to  do  it?" 
I  considered  a  neat  pair. 

"I  really  don"t  care,"  said  Maureen.  "If 
I  like  some  one  it  doesn't  matter  where 
we  go.  I'm  happy  any  place  as  long  as  I 
like  the  person  I  am  with." 

"Ah,  and  whom  do  you  like?"  said  I, 
the  old  busybody  pouncing  on  a  clue. 

"That  would  be  telling,"  said  canny 
Maureen,  as  indeed  it  would.  "I  have 
just  lots  of  boy  friends.  I  like  them  all. 
You  know,  I  never  know  when  I  am  in 
love  and  when  it  is  just  infatuation,"  she 
sighed  dreamily.  And  then  she  went  right 
on  to  admit  that  she  thought  Frank  Albert- 
son  was  'a  darling,'  that  Lew  Ayres  is 
charming,  and  she  admires  Ronald  Col- 
man  and  Fredric  March ;  and  George 
O'Brien  is  handsome,  and  oh,  so  is  John 
Garrick !  And  Frank  Borzage  is  wonder- 
ful, and  Will  Rogers  is  a  'dear.'  And  if 
that  isn't  just  about  liking  them  all,  I'd 
like  to  know  whose  feelings  are  hurt! 

Then  we  got  around  to  the  climate. 
Everybody  does  sooner  or  later. 

"It's  wonderful !"  Maureen  is  enthusias- 
tic. "In  Ireland  it  is  grey  and  foggy,  but 
here  with  the  beautiful  palm  trees,  oranges 
growing,  lovely  flowers,  it  is  divine !  Of 
course,  I  do  miss  the  green  countryside. 
Nowhere  in  the  world  is  the  grass  as  green 
as  in  Ireland.  If  they  could  only  move 
some   of  the  greensward   of   Ireland  to 


Hollywood,  it  would  be  perfect.  (Boosters, 
please  note.) 

"I  like  the  outdoor  life  here,  and  hope 
that  my  whole  family  will  come  over  here 
to  live.  Mother  came  over  with  me  and 
was  here  three  months  but  has  gone  back 
now.  It  was  such  a  joke  on  us,  but  when 
we  came  over  we  brought  our  heavy  un- 
derwear because  we  didn't  know  what  kind 
of  climate  they  had  here. 

"I  get  a  little  homesick  sometimes,  of 
course,  but  I  expect  my  father  to  visit  me 
this  summer  and  hope  I  shall  be  able  to 
persuade  him  to  buy  a  home  and  stay  here. 
For  I  like  my  work  and  hope  to  go  on  and 
on. 

"I  can  understand  how  an  actress  who 
has  outlived  her  time  should  still  continue 
to  want  to  act.  I  am  afraid  that  I  will  feel 
that  way,  too.  I  will  never  want  to  give 
it  up." 

Maureen  will  tell  you  promptly  that  she 
admires  Janet  Gaynor  more  than  any  ac- 
tress and  always  has.  Is  this  prophetic? 
And  next  Greta  Garbo,  of  course.  She 
used  to  adore  Rudolph  Valentino.  And 
always  had  a  sneaking  yen  for  the  stage, 
although  being  a  well-brought-up  Irish 
girl  with  a  father  a  major  in  the  army, 
with  brothers  and  sisters  and  happy  home 
life,  she  never  thought  she  would  realize 
her  yearnings.  And  then  just  like  light- 
ning it  struck.  One  night  in  a  Dublin 
cafe,  Frank  Borzage,  director  for  Fox,  dis- 
covered her  and  that  was  the  beginning  of 
the  trail  that  led  to  Hollywood  and  to  the 
part  of  the  ingenue  in  John  McCormack's 
picture,  "Song  of  my  Heart,"  to  the  role 
of  Will  Rogers'  daughter  in  "So  This  Is 
London ;"  and  soon  will  lead  to  the  sing- 
ing featured  lead  in  the  million  dollar 
musical  picture,  "Just  Imagine,"  by  De 
Sylva,  Brown  and  Henderson,  which  she 
is  doing  now.  And  which  may  lead,  so 
rumor  says,  the  old  gossip,  to  Gaynor's 
place  co-starring  with  Charles  Farrell. 

Perhaps.  But  that's  Maureen.  Such  a 
little  gain-er.  She's  gained  hearts  and  fan 
mail  which  she  threatens  to  frame,  she 
likes  them  so. 


FASHION  NEWS  —  Continued  from  page  120 

we  should  bar  over-dressing,  we  should  buy 
splendid  materials,  and  we  should  keep  on 
until  we  can  find  a  dressmaker  who  can  so 
wield  her  shears  that  our  bad  points  are 
eliminated  and  our  good  points  are  em- 
phasized! 

Do  not  forget,  this  is  a  dressmaker's  sea- 
son. For  great  originality,  one  must  go  to 
a  really  clever  designer.  Worth,  Chanel 
and  the  others  are  cutting  their  clothes  so 
subtly,  so  intricately  that  it  is  practically 
impossible  for  the  wholesalers  to  imitate 
them.  For  your  simple  frocks,  it  is  safe  to 
trust  to  the  fifteen  dollar  dress.  But  for  a 
smart  street  or  afternoon  ensemble,  for 
dinner  dresses,  evening  gowns,  and  evening 
coats — costumes  that  will  give  you  your 
rightful  place  among  the  smartly  gowned, 
individual  designing  seems  to  be  the  only 
possibility. 

And  it  is  every  woman's  duty  to  be  as 
beautiful  as  possible.  Today,  more  than 
at  any  other  age.  For  mechanical  America 
today  reminds  me  very  much  of  Ravel's 
La  Valse,  where  heavenly  beauty  strives 
with  hellish  uproar.  It  is  only  to  women 
that  men  can  look  for  surcease  from  this  up- 
roar, and  it  is  every  woman's  duty  to  bring 
the  maximum  quantity  and  quality  of 
beauty  to  the  individual  who  depends  upon 
her  for  happiness,  so  that  our  men  may 
snatch  occasional  moments  "of  gold  out  of 
an  age  of  steel!" 


Again  we  must  remember:  It  is  smart  to 
be  thrifty  It  is  not  necessary  for  you  to 
spend  huge  sums  of  money  on  tennis  clothes, 
golf  jerseys,  and  morning  dresses  for  home 
and  garden.  American  manufacturers  have 
solved  a  great  merchandising  problem.  By 
buying  hundreds  and  hundreds  of  bales  of 
silk  in  China,  by  cutting  thousands  and 
thousands  of  dresses  all  in  one  model,  they 
have  worked  out  a  number  of  dresses  which 
may  be  procured  for  from  fifteen  to  twenty 
dollars,  in  nearly  every  city  and  town. 

Many  women  on  Park  Avenue  go  in  for 
such  clothes  at  times  when  it  is  unnecessary 
for  them  to  have  distinguished  models, 
that  is,  as  I  have  said  before,  for  sports  or 
morning  wear. 

And  here  is  an  interesting  anomaly  which 
I  have  discovered  since  I  have  been  dressing 
women:  It  is  not  the  rich  woman  who 
wastes  her  money.  It  is  rather  the  woman 
who  must  buy  her  clothes  on  a  limited 
budget.  Instead  of  planning  far  ahead  and 
getting  a  few  good  clothes  which  she  can 
wear  month  after  month,  the  woman 
pressed  for  money  goes  out  frantically  and 
buys  one  article  of  dress  without  waiting  to 
realize  what  relationship  it  will  have  to  the 
rest  of  her  wardrobe.  The  result  is  chaos. 
Consequently,  in  summing  up  the  basic 
points  of  perfect  grooming,  we  should  re- 
member to  plan  the  wardrobe  as  scientific- 
ally as  a  physician  performs  a  diagnosis: 


They  Used  to  Call 


The  Personal 
Story  of 
Emma  Courtney 


"1  will  never  forget  the  un- 
happy days  when  as  a  'fat  girl' 
I  was  the  butt  of  all  my  friends' 
jokes.    They  referred  to  me  as 
"heavyweight.'     'Fat  Emma' 
and  other  odious  names.  They 
never    knew    how   deep  these 
jokes  cut  into  my  feelings.  But 
as  I  look  back,  I  am  certain 
that  my  friends  were  right,  I 
was  fat.     Almost  every  dress 
I   put  on  soon   burst  at  the 
seams.      Carrying    so  much 
weight    tired    my    legs  and 
weakened    my    ankles  so  I 
had  no  energy   left  at  the 
end  of  the  day. 

"Although  young  and  pretty,  I  found  out  that  young 
men  did  not  care  for  'fatties." 

"I  was  anxious  to  reduce,  but  everyone  warned  me 
against  the  ill  effects  that  follow  from  the  use  of  'anti-fat' 
nostrums  and  violent  exercising  machines.  I  was  des- 
perate and  didn't  know  what  to  do. 

"Then  a  kind  friend  told  me  of  Miss  Annette  Keller- 
mann  and  her  wonderful  reducing  methods.  Interested 
at  once  I  wrote  her  and  soon  received  her  fascinating 
book,  'The  Body  Beautiful,'  and  a  lovely  personal  letter, 
explaining  her  course  in  detail  and  how  I  could  easily 
reduce  six  to  eight  pounds  a  month — safely.  I  followed 
her  instructions.  In  a  few  months  I  regained  my  youth- 
ful figure  and  have  kept  it  ever  since.  Life  is  once  more 
worth  living." 


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Annette  Kellermann,    Suite  2410, 
225  West  39th  Street,  New  York  City 

Dear  Miss  Kellermann: 

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124 


SCREENLAND 


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HOLLYWOOD  GOES  GOLF-CRAZY 
Continued  from  page  55 


and  play  sometimes  until  after  one  in  the 
cool  fresh  air.    It's  great  fun." 

On  the  other  hand,  some  players,  not  yet 
caught  in  the  meshes  of  its  fascination, 
are  against  it.  "It's  a  menace  to  the  pic- 
ture business  and  the  theater,  and  anything 
that  is  a  menace  to  the  theater  is 
taboo  with  me,"  declared  Hedda  Hopper, 
stoutly. 

There  have  been  all  sorts  of  rumors 
about  an  effort  to  stop  them  for  that  rea- 
son. It  was  said  that  those  powerful 
enough  were  trying  to  stop  them  through 
an  ordinance  on  the  ground  that  they  used 
too  much  light  and  made  too  much  noise. 
But  it  didn't  seem  to  work.    In  the  first 


until  it-  is  wiped  out,  as  they  have  done 
before  when  an  epidemic  is  on.  Then  the 
sudden  and  intense  heat  and  bad  ventila- 
tion which  is  to  be  found  in  so  many 
theaters,  and  then  the  run  of  poor  program 
pictures  we  have  had.  The  novelty  of 
talking  pictures  has  about  worn  off  and 
the  public  may  find  it  uninspiring  to  sit 
through  five  or  six  poor  pictures  night 
after'  night  in  the  hope  of  rinding  a  good 
one.  Yet  the  producers  can't  be  blamed 
too  much.  It  is  pretty  hard  to  know  just 
what  will  please  several  millions  of  peo- 
ple. Any  woman  who  has  tried  to  cater 
to  the  tastes  of  her  family  in  the  culinary 
line  will  bear  me  out  on  that.    If  they  are 


Addrei 
Town— 


More  proof  of  the  golf  craze!  Robert  Montgomery,  Dorothy 
Jordan  and  Dorothy  McNulty  practicing  with  the  mechanical 
golfer  while  on  location  for  "Love  in  the  Rut." 


place,  the  charge  wasn't  true ;  and  in  the 
second,  it  was  awkward  because  so  many 
people  who  wanted  the  sport  stopped  for 
business  reasons  were  as  hipped  about  it  as 
anyone  else.  What  can  you  do  in  a  case 
like  that?  The  wise  ones  turned  the 
menace  into  a  boom.  They  began  building 
little  golf  courses  in  front  of  all  their 
theaters  so  that  people,  instead  of  having 
to  stand  in  tedious  waiting  lines  for  the 
doors  to  open  or  the  second  show  to  go 
on,  may  have  their  game  of  golf  in  the 
meantime.  Was  that  smart  or  not?  It 
is  said  that  West  Coast  Theaters  are  ar- 
ranging for  sixty  of  these  courses  to  be 
opened  in  connection  with  their  theaters, 
and  Fox  theaters  throughout  the  country 
are  adopting  the  same  plan.  In  this  way, 
like  the  oyster,  they  turn  their  grievance 
into  a  pearl. 

Just  how  much  the  miniature  golf  craze 
is  to  blame  for  the  slacking  up  of  theater 
attendance  is  a  question.  There  are  sev- 
eral things  that  might  be  a  truer  reason. 
First,  the  infantile  paralysis  scare  which 
still  seems  serious  in  and  about  Los  An- 
geles. If  it  becomes  too  menacing  it  is 
possible  that  the  Board  of  Health  will 
close  all  doors  of  amusement  to  the  public 


well  brought  up  and  unselfish  they  won't 
fight  about  it  but  it  is  a  rare  thing  that  a 
family  of  four  or  six  will  all  agree  on 
meals.  And  if  you  can't  always  please 
six  people  think  what  it  is  like  to  try  to 
please  six  millions ! 

Miniature  golf  looks  as  though  it 
would  hold  its  own  to  some  extent  no 
matter  what  happens,  for  people  are  be- 
ginning to  go  in  for  them  in  their  own 
yards.  Sue  Carol  and  Nick  Stuart  have 
planned  a  five-hole  course  which  will  be 
laid  out  on  the  terrace  of  their  new  home 
just  above  Los  Feliz  Boulevard.  Harold 
Lloyd  has  a  real  course  on  his  beautiful 
estate  but  there  is  talk  of  adding  a  pee- 
wee.  He  usually  plays  at  the  Tom  Thumb 
back  of  the  Hollywood  Plaza  Hotel.  Bob 
Montgomery,  Jeanette  MacDonald,  Buster 
Collier,  Leila  Hyams,  Anita  Page,  Alice 
White,  Arthur  Lake,  Sally  Blane,  Eddie 
Nugent,  Lila  Lee,  Dorothy  Jordan  and 
dozens  of  others  are  addicts.  Ben  and 
Bebe  Lyon  were  putt-ing  away  on  a  Mel- 
rose course  and  Fred  Niblo  was  master  of 
ceremonies  at  a  dinner  given  at  the  Bev- 
erly Hills  Hotel  where,  at  the  end  of  the 
speeches,  he  was  asked  to  announce  that 
the  committee  would  adjourn  to  the  golf 


for   October  193  0 


•  HUDDLE 


the  sensational  football  novel  of  the 
season  by 

Francis  Wallace,  former  Notre  Dame 
athlete 

•  CHORUS  MAN 

by  Faith  Baldwin 

•  HUMBLE  PYE 

by  Richard  Connell 

•  BEDS 

by  Groucho  Marx 

•  OHIO  STATE 

by  Daphne  Alloway  McVicker 

And  40  pages  of  the  gayest  and  newest 
jokes  from  the  campuses  of  110  leading 
colleges  in  the  November  issue  of 
COLLEGE  HUMOR  MAGAZINE 
Regularly,  35c  a  copy 
One  Year  $3.00  Two  Years  $5.00 

(Canadian  Postage  50c  a  year  additional; 
foreign  postage  $1) 

To  NEW  subscribers  we  will  send 
COLLEGE  HUMOR  for  six  months  for 
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Name 
Address 

City  State 

COLLEGE  HUMOR 
1050  N.  La  Salic  St.,  Chicago 


course !  And  there  ladies  and  gentlemen 
in  their  soup  and  fish  and  chiffons  pranced 
about  the  putting  green  laid  out  in  the 
hotel  grounds. 

On  Roland  Square,  Ruth  Roland's  real 
estate  headquarters  at  Fairfax  and  Wil- 
shire  Boulevard,  there  is  a  course  right 
next  her  office  where  Ruth  may  often  be 
seen  playing. 

"The  game  gives  you  a  chance  to  think. 
Just  as  a  game  of  tennis  or  real  golf  is 
often  indulged  in  to  clear  one's  brain  and 
relax  one's  nerves.  These  are  more  easily 
reached  and  don't  take  so  much  time  to 
play,  and  one  does  get  a  certain  stimula- 
tion out  of  them." 

Not  that  a  real  golf  player  would  de- 
mean himself,  or  rather  some  real  golf 
players,  for  as  we  said,  Harold  Lloyd  is 
crazy  about  the  game.  But  Dick  Barthel- 
mess  declared  he  had  never  played  and  So 
help  him  he  never  would.  Just  the  same 
he  was  heard  discussing  the  subject  on  the 
set  the  other  day  with  Frank  Lloyd  and  a 
few  others  with  greater  enthusiasm  than 
bespeaks  a  negative  mind. 

The  courses  are  good  places  to  catch 
the  latest  romances,  too.  Betty  Compson 
and  Hugh  Trevor  go  playing  a  lot,  and 
Dorothy  Lee  and  Jimmy  Fidler,  to  whom 
she  is  engaged. 

It  seems  to  be  quite  the  thing  to  wind  up 
a  bridge  party  with  a  putt-putt  game  or 
even  a  dance  or  visit  to  one  of  the  night 
clubs.  Even  the  colored  districts  have 
them  and  are  patronized  by  such  celebri- 
ties as  Stepin  Fetchit  and  Nina  Mae  Mc- 
Kinney. 

Ralph  Graves  and  James  Warner  Bellah 
are  trying  to  talk  themselves  into  invest- 
ing in  one.  "A  fifteen  hundred  a  week 
profit  isn't  bad  on  a  seven  thousand  dollar 
investment,"  declared  Jay.  "There  ought 
to  be  one  on  the  top  of  every  office  build- 
ing in  the  country,"  said  Ralph,  pounding 
the  table.  "Think  what  half  an  hour 
would  mean  to  people  sitting  at  desks  all 
day  cramped  and  without  sufficient  exer- 
cise. There  wouldn't  be  half  as  much  in- 
digestion and  undernourished  nerves." 

How  did  it  all  start?  Well,  there  have 
been  plenty  of  editorials  written  on  that. 
In  that  part  of  New  York  City  called 
Tudor  City  on  Forty-second  Street  and 
the  east  river,  a  miniature  regulation  golf 
course  was  laid  out  for  the  amusement  of 
the  tenants.  That  was  three  years  ago. 
Bert  Wheeler  played  a  game  on  top  of  a 
Chicago  store  that  memory  tells  him  was 
six  years  ago.  But  the  idea  of  miniature 
golf,  as  such,  seems  to  have  originated  in 
the  mind  of  Garnet  Carter  of  Tennessee, 
about  two  years  ago.  He  called  his  brain 
child  the  Tom  Thumb  golf  course  and 
found  it  grew  to  be  more  popular  than  his 
regulation  golf  course.  He  decided  to 
build  more  and  got  a  patent  out  on  all  the 
Tom  Thumb  hazards  from  which  he  is 
reaping  an  enormous  royalty  now  that  the 
thing  has  skyrocketed.  There  are  Tom 
Thumb  courses  all  over  the  country. 

It  is  no  wonder  they  have  caught  every- 
one's fancy.  Even  if  one  doesn't  play  the 
game  it  is  fun  to  sit  and  watch.  The  bet- 
ter courses  have  comfortable  chairs  on  the 
side  lines  and  there  seem  to  be  plenty  of 
onlookers,  or  people  waiting  for  a  turn. 
They  sing  out  cheers  for  the  winners  and 
advice  to  the  less  fortunate  ones. 

They  remind  me  of  Japanese  gardens, 
they  are  so  tiny  and  so  orderly.  Some 
have  rocky  caves,  streams  of  water,  mill 
wheels,  hills  of  sod  all  mixed  up  in  the 
most  delightful  playground  imaginable. 

Maybe  it  won't  last,  though  many  think 
it  will.  Time  will  prove  that  point.  In 
the  meantime,  we  are  all  having  a  swell 
time,  so,  yours  for  more  and  better  junior 
courses ! 


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126 


SCREENLAND 


fVeckles 

Vanish-' 


Tells  How  to  Rid  Your 
Complexion  of  These 
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If  you  freckle  easily,  yet  find  these 
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FAMOUS  FIGURES  —  Continued  from  page  34 


instead  of  the  iron  but  just  as  constricting. 
Not  satisfied  with  this,  a  busk  is  usually 
inserted  in  front  of  the  bodice  from  neck  to 
stomach.  These  busks  were  no  doubt  un- 
comfortable, but  ladies  in  those  days  might 
be  eased  by  the  tender  sentiments  carved 
on  them.  Busks,  in  the  Elizabethan  days, 
of  whalebone  or  wood  were  carved  by  the 
ladies'  admirers  and  covered  with  hearts 
and  flowers  and  the  initials  of  the  recipient 
and  the  donor.  The  busk  down  the  front 
of  the  dress  assured  a  rigid  and  perpen- 
dicular expression  to  the  body  if  not 
the  face. 

The  French  Revolution  is  another  period 
much  dramatized  in  books,  theater  and 
film.  In  1793  the  feminine  world  discarded 
underwear.  This  does  not  sound  exactly 
new  to  us,  considering  our  own  sheer  ten- 
dencies. The  French,  however,  do  things 
more  thoroughly  and,  at  this  time,  a 
chemise  seems  to  be  the  chief  garment  of 
the  royal  wardrobes.  Public  appearance 
by  many  genteel  women  so  clad  in  much 
less  than  the  members  of  the  Folies  Bergere 
now  wear,  caused  a  riot.  Eight  ounces  of 
clothing  was  considered  a  modest  maximum. 
Cold  cream,  powder  and  rouge  weigh  that 
much  these  days,  not  to  mention  our 
scanties. 

Think  of  the  13  inch  waist  line,  the  large 
panniers  which  emphasized  hip  lines,  the 
full  bosoms  of  the  Victorian  era,  and  com- 
pare these  lines  with  the  standard  of  com- 
mercial measurement  that  is  registered  in 
Washington,  D.  C,  as  the  proportions  of 
the  average  figure. 

Size  14  has  a  bust  of  32,  waist  of  27,  hips 
of  35  inches;  size  16  has  a  bust  of  34,  waist 
of  28,  hips  of  37  inches;  size  18  has  a  bust 
of  36,  waist  of  30,  and  hip  measurement  of 
39!  Not  so  long  ago  "a  perfect  36"  was 
considered  the  ideal  figure.  34  is  now  fast 
supplanting  it  in  popular  opinion. 

There  are  a  few  stars  who  have  faced  the 
costume  question  and  solved  it  to  their  own 
historical  advantage.  Corinne  Griffith 
made  a  charming  picture  as  Lady  Hamilton 
in  "The  Divine  Lady."  Had  she  been  ab- 
solutely authentically  dressed  she  would 
have  worn  a  whalebone  corset  six  inches 
high  of  twenty  whalebones  similar  to  the 
one  Lady  Hamilton  ordered  from  Paris 
from  the  famous  Lacroix,  the  corsetiere, 
who  charged  the  exorbitant  price  of  20 
louis  d'or  for  his  masterpiece. 

Norma  Talmadge  as  Du  Barry  reveals 
shoulders  and  low  neck  in  the  style  of 
Louise  XV.  Had  she  been  authentically 
dressed  she  would  have  worn  a  very  tightly 
laced  corset  which  comes  to  a  point  over  the 
stomach.  The  slim  waistline  pushed  flesh 
upward  toward  her  bosom  and  downward 
to  the  hips.  The  pannier  skirt  made  the 
hips  larger  and  the  open  neck  was  made  to 


expose  as  much  of  the  bosom  as  possible  or 
practical. 

Joan  Bennett  felt  the  delights  of  wearing 
the  bustle  styles  in  "Disraeli."  Her  cos- 
tumes were  authentically  correct  and  very 
charming.  In  this  period  so  much  more 
'dress'  was  put  on,  and  so  little  taken  off, 
that  the  modern  figure  could  be  well  shaped 
into  the  silhouette  if  padded  and  bustled. 
Marion  Davies  charmed  thousands  in 
"Yolanda"  and  "Beverly  of  Graustark" 
and  "The  Florodora  Girl."  Joan  Crawford 
in  "Great  Day,"  Ann  Harding  in  "The 
Girl  of  the  Golden  West"  offer  costume 
pictures  that  show  how  styles  have  changed, 
not  to  mention  waistlines. 

There  has  always  been  a  great  hubbub 
about  waistlines  and  corsets.  In  the  nine- 
ties, doctors  got  their  greybeards  together 
and  wrote  treatises  on  the  evils  of  tight 
lacing  and  its  injury  to  the  liver.  Societies 
were  founded  to  do  away  with  the  wasp 
waist.  Corsets,  according  to  an  Illinois  law 
promulgated,  but  never  passed,  "could  be 
had  only  on  a  medical  certificate."  Boot- 
legging one's  figure  seemed  to  be  in  the  near- 
future  for  that  state. 

A  great  deal  has  been  said  of  the  gay 
nineties  and  the  hour  glass  styles.  Figures 
were  camouflaged  by  'false  fronts'  and  the 
straight  line  corset.  Figures  are  easily 
curbed  and  curved,  providing  the  proper 
means  are  employed.  An  outstanding 
figure,  fashionable  through  many  decades, 
was  the  beautiful  Lily  Langtry,  the  Jersey 
Lily.  Her  fame  was  made  in  curves,  but 
she  lived  to  straighten  them  to  the  long  lines 
of  the  Gibson  Girl  and  then  to  flatten  her 
chest  and  adapt  her  waist  to  the  boyish 
figure.  A  photograph  taken  shortly  before 
her  death  shows  the  beautiful  Lily  Langtry 
just  as  smartly  dressed  in  the  clothes  of 
1929  as  the  skirt  and  waist  styles  of  1900. 
The  change  in  silhouette  is  not,  however, 
brought  about  in  a  minute.  What  one  does 
with  whalebone  cannot  be  done  with 
elastic  and  vice  versa.  Figures  today  have 
a  subtleness  that  is  persuaded  by  the  softest, 
firmest  of  materials.  Rubber  corsets,  bones 
that  are  resilient,  nets,  satins,  and  firm 
materials  are  used  to  give  1930  proportions. 
These  garments  in  the  years  to  come  will 
join  the  other  figure  molding  devices  and 
become  museum  pieces. 

After  the  Gibson  Girl,  came  the  boyish 
form,  and  now  what?  Today,  the  making  of 
styles  rests  not  with  royal  queens  but  with 
those  far  more  powerful  queens  in  Holly- 
wood who  have  the  world  at  their  feet. 
Every  century  will  have  its  famous  figures. 
But  for  the  sake  of  the  future  films  it  is  to 
be  hoped  that  Hollywood  will  not  devise  a 
Medici  corset,  an  Elizabethan  ruff,  or  a 
whalebone  monstrosity.  If  history  must 
repeat  itself  it  should  be  done  in  good  form! 


THE  STAGE  IN  REVUE  —  Continued  from  page  122 


and  psychic  states  can  be  impressed  on  our 
consciousness  by  means  of  close-ups,  in- 
telligent acting  and  talented  direction,  all 
of  which  this  great  talkie  has.  Never  be- 
fore have  the  minds  of  fictitious  characters 
been  laid  bare  with  so  breath-taking  a 
reality. 

A  talkie  like  "Journey's  End'  revives 
the  hypnotic  state  of  our  minds  when  we 
were  children  and  were  deep  in  a  tale  of 
adventure  or  a  fairy  story. 

Another  talkie  that  I  liked  was  Arliss  in 
"Disraeli."  I  also  liked  this  better  than 
the  stage  play,  making  allowance  for  me- 
tallic voices  and  the  absence  of  the  living 
human  being.  But,  then,  Arliss  is  in  a 
class  by  himself — unmatchable. 

I  strolled  into  the  Little  Picture  House 


on  East  50th  Street  one  evening  to  see 
Maurice  Chevalier  in  "Innocents  of  Paris." 
This  is  a  cosy  little  place  that  selects  its 
talkies  for  a  discriminating  set  of  patrons. 

I  can  see  very  well  why  all  the  women 
have  gone  talkie  after  seeing  and  hearing 
Maurice.  II  a  le  It!  He  is  certainly 
a  fascinating  fellow,  and  it  is  worth  the 
price  of  admission  to  hear  him  sing 
Valentino. 

No,  the  talkies  can  never  hurt  the  real 
drama.  And  although  I  am  now  sneaking 
into  the  talkies — hoping  Mencken  and  my 
other  highbrow  friends  will  not  see  me — 
and  enjoying  some  of  them,  they  could  not 
for  a  moment  wean  me  from  the  legitimate 
stage. 

On  the  contrary! 


for    October  1930 


127 


Monsters! 


LOOK  FOR 
THIS  COVER 

Thrills! 

Mystery! 

Excitement! 

MONSTERS  OF  MYSTERY 

A  penniless  young  man  finds  a 
thousand-dollar  bankroll  in  the 
street — and  enters  upon  a  strange 
adventure 

By  HARRY  M.  LYNCH 

THREE  MINUS  ONE 

An  Underworld  Detective 
Story. 

By  EARL  W.  SCOTT 

THE  DEATH  RIDDLE  OF  THE 
REDWOODS 

The  True  Story  of  California's 
Strangest  Murder  Mystery 

By  J.  WILLIAM  HAMILTON 

MORE  STARTLING  FACTS 
ONTHE"JAKE"LINGLE 
MURDER 

Chicago's  Greatest  Crime 
Scandal. 

The  inside  story  of  the  widely-dis- 
cussed LINGLE  case  is  appear- 
ing exclusively  in  this  magazine. 

SCIENCE  GOES  HAYWIRE 

A  new  detective  story 

By  THOMAS  TOPHAM 

And  other  thrilling  storiesand  factarticles 
in  the  October  issue  of  America's  fastest- 
growing  detective  magazine. 

Real 
Detective  Tales 

Now  on  Sale  at  All  News  Stands 


MISS  MIDGET 

Continued  from  page  S3 

the  grace  and  charm  that  a  less  tomboyish 
youngster  would  occupy  the  chair  in  the 
accepted  fashion.  She  never  wears  stock- 
ings. She  prefers  short  sox  and  low  heeled 
shoes.  Her  taste  in  clothes  is  good  but 
moderate.  Sport  things  please  her  more 
than  suits  and  fluffy  garments. 

Dorothy  has  played  several  'dumb  girl' 
roles  on  the  screen  but  she  is  in  reality  a  fast 
thinker.  She  is  extremely  fair.  Her  friends, 
for  the  most  part,  are  former  school  chums. 
The  sudden  appearance  of  a  big  weekly  pay 
check  has  not  turned  her  head.  Among  her 
closest  pals  are  a  young  married  couple 
who  are  saving  their  money,  a  girl  who 
once  was  very  wealthy  but  whose  family 
fortune  was  lost,  and  several  young  girls 
and  boys  who  are  working  in  prologues  or 
stage  choruses.  Dorothy  prefers  these, 
who  were  friends  in  times  of  adversity,  to 
those  she  might  have  for  companions  now 
that  she  is  a  popular  young  screen  actress 
earning  thirty  thousand  dollars  a  year. 

She  is  economical  by  nature.  Half  of 
her  weekly  pay  check  goes  into  a  savings 
account.  It  is  never  touched.  If  her  ex- 
penses for  the  week  are  such  that  nothing 
is  left  of  her  spending  money,  she  still  re- 
fuses to  touch  that  savings  account — she 
goes  without  money  that  week.  I  have 
seen  Miss  Lee  go  several  days  with  no  more 
than  fifteen  cents  in  her  pocket-book.  Not 
a  rarity  for  me  or  perhaps  for  you,  but  how 
many  persons  earning  thirty  thousand  a 
year  would  so  deny  themselves? 

She  has  several  hobbies.  For  a  time  she 
collected  dogs — stuffed  dogs.  In  her  home 
she  had  more  than  two  hundred  canines  of 
one  sort  or  another.  Big  woolly  ones;  little 
glass  ones;  funny  dogs  with  long  legs  that 
walked  when  pulled  by  a  string;  odd  little 
terriers  that  growled  and  barked  when 
wound  up.  Friends  and  admirers,  aware 
of  her  craze,  swelled  her  kennels  with  con- 
tributions. She  has  dogs  from  nearly  every 
big  city  in  the  United  States. 

Now  she  is  collecting  elephants.  Her 
mother  expressed  the  fond  hope  that  Dor- 
othy won't  suddenly  decide  upon  a  live 
one.  No  one  would  be  less  surprised  than 
her  mother,  though,  if  that  should  happen. 
At  any  rate,  the  elephant  collection  is  just 
beginning.  The  craze  for  these  animals  will 
continue  several  weeks.  Then  it  will  be 
something  else. 

One  reason  she  will  be  successful  is  that 
so  many  people  are  anxious  to  help  her. 
Because  of  her  sweetness  and  her  unaffected 
charm,  she  has  friends  in  every  department 
of  the  studio.  The  wardrobe  department 
bends  double  efforts  to  please  her  with 
every  dress.  The  cameramen  like  her  and 
study  her  lighting  with  extreme  care.  The 
publicity  department  welcomes  her  with 
open  arms  and  at  every  opportunity,  mem- 
bers of  the  staff  do  things  to  bring  Dorothy 
to  the  attention  of  the  public.  The  record- 
ing department  workers  do  every  thing 
possible  to  perfect  her  recordings  of  songs 
and  lines.  The  players  with  whom  she 
appears  (principally  Bert  Wheeler  and  Bob 
Woolsey)  like  her  and  insert  little  scenes 
and  bits  destined  to  win  her  laughs  or 
applause  when  the  picture  is  completed. 

And  take  my  word  for  it — if  any  of  you 
big,  husky  men  who  think  you  are  all- 
around  athletes  visit  Hollywood  and  feel 
exceptionally  active,  call  on  me.  I'll  see  if 
I  can  arrange  for  a  day  with  Miss  Lee.  I'll 
promise  you  that  when  the  sun  goes  down, 
you'll  be  wondering  why  you  ever  felt  so 
ambitious.  And  while  you  are  wondering, 
Dorothy  will  probably  be  pleading: 

"Come  on!  Let's  go  out  to  the  putt- 
putt  course  and  play  a  few  rounds  of 
indoor  golf  !" 


USe  this  aid  to  eye 
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128 


SCREENLAND 


The  Love 

of  a  clear,  smooth, 

NEW  SKIN 


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JUST  AN  OLD  SPANISH  CUSTOM  IN  HOLLYWOOD 

Continued  from  page  91 


were  long  as  we  left  for  home. 

"As  a  Scotchman,"  remarked  Patsy, 
"Frank  Lloyd  is  a  very  good  Spaniard!" 

"OH,  the  picture  stars  have  found  a  new 
playground!"  exclaimed  Patsy.  "It's  just 
like  a  magic  bit  out  of  the  old  Spanish  days 
in  Los  Angeles — Olvera  Street,  just  off  the 
Plaza.  James  Warner  Bellah,  who  writes 
for  the  movies  and  for  magazines,  is  giving 
a  big  party  down  there  in  honor  of  his  wife, 
the  former  Bernice  Vert,  actress  and  dancer, 
who  has  just  arrived  from  the  east;  and 
we're  invited." 

We  went  down  there  with  Robert  Chis- 
holm,  star  of  "Sweet  Adeline"  in  New  York, 
and  now  in  Hollywood  playing  in  pictures. 

"Everybody  is  giving  parties  down  here 
these  days,"  Patsy  remarked. 

Just  then  we  caught  sight  of  Olvera 
Street,  and  stopped  to  gasp! 

The  street  was  bright  with  lights,  and  in 
their  flare  we  gazed  at  a  scene  that  was  like 
a  tiny  piece  of  old  Mexico. 

There  were  gay  little  bazaars  on  either 
side  of  the  brick-paved  street — outdoor 
bazaars  covered  with  bright  awnings,  and 
showing  for  sale  lovely  pottery,  dolls,  sweets, 
and  all  presided  over  by  picturesque  figures, 
the  Mexican  men  in  sombreros  and  zerapes, 
and  the  women  with  shawls  over  their  heads. 

This  street  isn't  desecrated  by  automo- 
biles. A  fountain  at  its  entrance  skilfully 
turns  traffic  aside,  and  the  other  end  of  the 
little  street  is  walled  in.  If  you  ride  in,  you 
ride  in  on  horseback. 

On  one  side  of  the  street  is  the  ancient 
Olvera  home,  a  picturesque  old  adobe,  full 
of  memories,  quaint  furniture,  old  paintings 
and  photographs,  and  the  cooking  utensils 
and  apparatus  of  another  day.  In  the  back 
yard  is  an  old  garden  with  a  well. 

Mr.  Bellah  had  taken  over  the  whole 
street  for  the  evening,  so  that  it  was  doubly 
like  going  into  another  world,  and  we  en- 
joyed in  peace  our  visit  to  the  Olvera  home, 
the  quaint,  perfectly  appointed  but  tiny 
puppet  theater  with  its  ancient  dolls,  the 
bazaars  and  the  cafe. 

Casa  La  Golondrina  is  the  picturesque 
title  of  the  cafe  where  the  supper  was  to  be 
enjoyed. 

Our  host,  who  has  sought  his  material  all 
over  the  world,  was  quick  to  see  the  possi- 
bilities in  the  ancient  adobe  wine  cellar 
that  Senora  Consuella  Bonzo  has  so  cleverly 
made  over  into  a  cafe. 

We  had  arrived  a  little  early,  but  very 
soon  the  guests  began  to  arrive. 

Monte  Blue  and  his  wife  were  among  the 
first  to  arrive,  and  we  sat  down  with  our 
host  and  hostess,  at  a  little  table  on  the 
verandah,  where  you  eat  if  you  like,  to 
await  other  guests. 

Mr.  and  Mrs.  Bellah  soon  found  it  neces- 
sary to  leave  us  in  order  to  take  their  places 
at  the  entrance,  in  order  to  greet  new 
comers. 

Harry  Langdon  and  Mrs.  Langdon,  who 
had  been  lounging  about  the  street,  so  in- 
terested, they  said,  that  they  nearly  forgot 
the  party,  put  in  an  appearance,  whereupon 
we  went  inside  to  sit  down  at  the  long  table 
to  await  the  others. 

Glen  Tryon  and  his  beautiful  wife  came 
soon  after  and  there  were  Belle  Bennett 
and  Fred  Windermere,  Tom  Miranda,  the 
scenario  writer,  and  his  wife;  the  noted 
violinist,  Duce  de  Karejerto,  June  Collyer, 
Allison  Skipworth,  Mr.  and  Mrs.  Finis 
Fox,  Marceline  and  Alice  Day  and  their 
mother,  Mr.  and  Mrs.  William  K.  Howard, 
Lionel  Belmore,  Philip  Ryder  and  Aimee 
Torriani,  Ailene  Carlyle,  and  just  dozens 
of  others. 

Charming  entertainers  in  Spanish  cos- 
tume sang,  danced,  and  played  the  guitar 


for  us,  and  there  was,  besides,  a  Spanish 
orchestra. 

Elise  Bartlett  and  Eric  Snowden,  of  the 
Civic  Repertory  Theater,  arrived  late. 
Elise  bore  a  bag  filled  with  tamales,  tortillas 
and  Mexican  cookies  which  she  had  bought 
at  the  bazaars  outside. 

"We  were  so  late  that  I  thought  there 
would  be  nothing  left,"  she  laughingly  ex- 
plained, but  we  decided  she  just  couldn't 
resist  the  quaint  vendors  outdoors,  squat- 
ting over  the  little  braziers  where  they  were 
cooking  their  food. 

Glenn  Tryon  and  Fred  Windermere  got. 
as  faraway,  in  their  conversation,  as  yachts. 

"Dear,  dear,"  said  Lillian  Tryon  to 
Belle  Bennett,  "it  used  to  be  bull  fiddles 
and  now  it's  yachts.  I  do  wish  Glenn  would 
become  interested  in  a  Pekinese  or  some- 
thing small  that  you  could  have  around 
the  house  with  comfort!" 

Presently,  Glenn,  who  speaks  and  under- 
stands Spanish,  went  over  to  the  performer 
on  the  bull  fiddle  in  the  orchestra  and 
coaxed  the  instrument  away  from  him. 
Grabbing  a  sombrero,  Glenn  sawed  away 
for  dear  life,  and  really  did  a  very  good  job 
of  it. 

Glenn  was  once  a  member  of  the  bandit 
Pancho  Villa's  band  of  marauders  down  in 
Mexico.  He  joined  with  a  pearl-handled 
pistol!  The  truth  of  the  matter  was  he  got 
fed  up  with  civilization  and  the  show  busi- 
ness, and  went  down  there  to  join  the 
Mexican  army,  but  stumbled  into  Villa's 
camp  instead,  and  thought  it  wise  to  join. 
But  he  got  away  the  first  opportunity. 

He  had  a  great  time  at  the  party,  hob- 
nobbing with  the  orchestra  members  and 
the  pretty  Spanish  dancers. 

J  une  Collyer  called  over  to  Harry  Langdon 
to  inquire  what  he  was  eating,  and  Harry 
to  the  surprise  of  everybody  answered  in 
perfectly  good  Spanish,  "Taquito  de  gallina 
con  ahuacate,  tambien  chile  rellens  con 
queso  y  salse." 

"Oh,  you  speak  bill-of-fare  Spanish!" 
June  kidded  him. 

But  he  replied  again  in  Spanish,  words 
not  on  the  bill-of-fare  at  all,  and  June  had 
to  acknowledge  herself  beaten. 

We  caught  Monte  Blue  vainly  trying  to 
eat  his  rolled  toasted  tortillas  with  his 
fork  until  the  cute  little  waitress  who  had 
charge  of  his  table  showed  him  how  to 
gather  them  up,  with  beans  rolled  in  them, 
and  eat  them  from  his  fingers. 

After  dinner  we  prevailed  on  Robert 
Chisholm  to  sing,  which  he  did  superbly, 
followed  by  Philip  Ryder,  singing  the  theme 
song  from  "Adios,"  the  picture  in  which  he 
is  appearing.  Allison  Skipworth  recited, 
and  Georgie  Grandee  played  the  piano. 

Nearly  all  the  picture  stars  have  some 
side  line,  and  we  found  that  Belle  Bennett 
is  shortly  to  open  a  cafe.  It  is  to  be  called 
Grandmother's  Cafe,  and  many  things  in  it 
will  be  objects  which  had  belonged  to  her 
grandmother,  including  a  spinning  wheel, 
a  collection  of  old  dolls,  and  some  quaint 
old  furniture.  All  the  appointments  were 
to  be  of  another  day. 

"Except,  I  hope,"  said  Patsy,  "that  you'll 
have  a  modern  cooking  range  and  that 
there'll  be  steam  heat  on  cold  days." 

Some  of  the  guests  departed  around  two 
o'clock  in  the  morning,  after  which  the  rest 
of  us  danced  until  daylight  began  to  peer 
through  the  deep-embrasured  windows. 

"That  was  surely  a  good-natured  or- 
chestra," remarked  Patsy. 

"Oh,  yes,  not  ever  starting  anything 
until  manana,  they  are  quite  willing  to 
keep  on  until  another  manana."  observed 
Bob  Chisholm. 


for  October  1930 


129 


HOTEL 

PENNSYLVANIA 


TN  PHILADELPHIA, 
there  is  no  law  that 
forces  you  to  detour 
from  the  din  and  dis- 
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streets.  If  you  really 
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bed  with  ear  muffs  on 
and  shut  out  the  clang 
and  clamor  of  the  city's 
bedlam.  But  the  really 
sensible  thing  to  do  is 
to  park  yourself  .  .  . 
and  your  car  if  you 
motor  ...  10  minutes 
from  the  city  center  but 
10,000  miles  from  the 
noise  ...  at  the  Hotel 
Pennsylvania.  Here 
you  can  rest  and  relax 
in  the  cordial  comfort 
of  a  room  that  was 
built  for  sleep. 

DANIEL  CRAWFORD,  Jr.,  Manager 

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The  next  issue  of 
SCREENL AND 
Will  Be  on  Sale  October 


DARE  THE  STARS  TRY 
AGAIN  FOR  HAPPI- 
NESS? 

Continued  from  page  114 


assisting  in  lifting  the  moving  picture  in- 
dustry from  a  cheap,  tuppenny-ha'penny 
trade  to  a  profession  to  which  the  finest 
artists  in  the  world  are  proud  to  bring  their 
talents.  For  a  long  time  Mary  and  Doug 
lived  with  the  utmost  dignity  and  restraint. 
Only  recently  have  they  dared  to  be  them- 
selves, when  Doug  sailed  abroad  alone  for 
the  golf  tournament  and  Mary  remained  at 
home  to  go  on  with  her  work — as  wives 
have  a  habit  of  doing.  No  matter  what 
ultimately  comes  out  of  their  relationship 
to  each  other,  I  think  they  should  be  en- 
titled not  only  to  our  gratitude  but  to  our 
special  consideration,  for  they  have  con- 
tributed more  to  films  than  any  other 
couple  in  screen  history. 

But  while  we  are  talking  about  second 
marriages,  there  is  one  important  point 
we  shouldn't  overlook.  It  is  my  belief  that 
every  normal  individual,  no  matter  how 
often  married,  really  at  the  bottom  of  his 
heart  longs  to  be  monogamous — that  is, 
longs  to  find  the  one  woman,  his  true  mate, 
to  whom  he  can  be  faithful  so  long  as  he 
lives.  Dr.  H.  S.  Jennings,  Professor  of 
Zoology  at  Johns  Hopkins  University,  in 
his  recent  book — "The  Biological  Basis  of 
Human  Nature,"  comes  out  flat-footedly 
for  monogamy.  He  is  convinced  that  it  is 
the  fulfillment  of  biological  laws.  He  shows 
us  that  not  only  humans  practice  monogamy 
but  that  eagles  and  hawks,  as  well  as  cer- 
tain animals,  continue  permanent  monoga- 
mous matings  for  life. 

I  agree  heartily  with  the  doctor  that 
monogamy  is  the  ideal  form  of  existence. 
But  monogamy  means  living  with  one's 
mate  throughout  life.  And  many  of  us  are 
born,  grow  up,  procreate  and  die,  without 
ever  finding  that  mate.  In  the  old  days 
before  civilization,  a  man  could  trust  his 
instincts  in  choosing  his  woman.  But  now 
our  instincts  have  become  blunted.  Now 
we  are  civilized,  bound  around  with  clothes 
and  conventions,  and  so  generally  enmeshed 
in  culture  and  customs  that  many  of  us 
wouldn't  know  our  true  mates  if  we  fell 
over  them.  Particularly  is  this  true  of 
young  people.  What  chance  has  a  well- 
brought-up  young  girl  or  a  callow-sheltered 
youth  of  finding  out  at  twenty  the  person 
who  will  satisfy  them  and  make  life  still 
worth  living  at  forty?  For  this  and  other 
reasons  marital  mistakes  are  being  made 
day  after  day,  with  resultant  tragedy, 
heartache,  and  despair.  Tolerance,  toler- 
ance, and  still  more  tolerance  is  the  only 
way  for  any  of  us  to  regard  the  attempts  at 
repairing  these  mistakes  that  moving  pic- 
ture stars  make,  as  well  as  the  efforts  of 
our  own  neighbors  and  friends.  The  lode- 
star of  happiness  attracts  us  all.  And  as 
long  as  we  have  breath  left  in  our  bodies, 
we  will  grope  our  way  towards  it.  The 
desire  for  love  is  at  least  as  strong  as  the 
desire  for  food.  And  it  is  useless  to  lay 
down  any  one  law  for  millions  of  human  be- 
ings to  follow.  Dr.  Jennings  says  again  that 
each  individual  is  different.  That  funda- 
mentally we  are  all  the  products  of  our 
genes — that  is,  the  important  part  of  the 
egg  cell,  and  this  determines  whether  we 
are  likely  to  develop  into  Shakespeares  or 
just  into  ordinary  human  creatures.  We 
will  all  react  differently  to  the  same  given 
situation.  Therefore,  the  best  we  can  do  is 
to  build  up  our  own  code  of  doing  as  we 
would  be  done  by,  trusting  to  be  guided  to 
a  road  we  may  walk  down  peacefully, 
happily,  honorably — until  the  sunrise  of 
another  existence  clears  the  mists  of  human 
uncertainties  from  our  eyes. 


Extra 


"Had  learned 
only  a  few  chorda 
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Received  sixteen 
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^  A.Prutzman, 
Lehighton,  Pa. 
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a  week,  spare* 
time,  for  $10." 
~  J.  Krulichi,  Kit- 
chener ,  Ont . ,  Can. 

"Have  made  al- 
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spare-time." 
-John  B.  MaMuU 
tin.  Cadet,  Mo. 


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130 


SCREENLANI) 


The  VITAGRAPH  TANK, 
VITAPHONE,  THE  OLD  DAYS, 

and  THE  NEW 


T 


HE  old  Vitagraph  studio  in    Brooklyn  has 
gone  thoroughly  Vitaphone  under  Warner 
Bros,  ownership,  and  hums  today  with  talkie 
activity.    But  a  landmark  of  the  past  still 
stands,  eloquent  of  the  movie  yesterday. 

The  landmark  is  the  Vitagraph  tank.  It  looks 
like  a  miniature  swimming  pool,  perhaps  four  feet 
deep,  some  sixteen  feet  long  and  twelve  feet  wide. 
Water  no  longer  laps  its  concrete  sides.  Yet  years 
ago  it  served  as  the  Red  Sea  for  Vitagraph's  pro- 
duction of  "Moses."  Its  waters  parted  at  the 
patriarch's  command,  and  after  Moses  had  led  his 
followers  across  in  safety,  its  waves  engulfed  the 
army  of  the  Egyptians  with  finality,  if  with  pre- 
De  Mille  finesse. 

Elephants  have  wallowed  in  the  tiny  Vitagraph 
tank,  camouflaged  as  a  jungle  river.  It  was 
the  ocean  for  bathing  beauties  of  the  John 
Bunny-Flora  Finch  era.  But  its  chief  claim 
to  movie  immortality  lies  in  its  service  as  the  Red 
Sea. 

The  Vitagraph  tank  deserves  a  place  in  a  Movie 
Museum.  It  is  as  significant,  in  its  way,  as  Lindy's 
"Spirit  of  St.  Louis,"  now  in  the  Smithsonian 
Institute  in  Washington. 

And  what  a  world  of  meaning  was  wrapped 
up  in  the  change  of  one  syllable  when  Vitagraph 
became  Vitaphone!  The  linguistic  ancestors  of 
these  two  words  are  Latin  and  Greek.  Taking 
photograph,  father  of  the  motion  picture,  we  find 
it  is  derived  from  two  Greek  words — photos,  mean- 
ing light,  and  graplw,  meaning  to  write.  When  you 


The  old  Vitagraph  studio  is  now  Warner  Brothers'  modern 
Vitaphone  studio.    The  arrow  points  to  the  only  remaining 
landmark — the  Vitagraph  tank  which  served  as  the  'ocean'  for 
bathing  beauty  pictures. 


A  scene  from  an  old  Vitagraph  picture,  "The 
Song  of  the  Sea  Shell."  The  lady  with  the  big 
feathered  hat  is  Anita  Stewart  and  the  child  is 
Dolores  Costello,  now  Mrs.  John  Barrymore. 


take  a  picture,  you  write  light  on  a  plate  or  a  strip 
of  film. 

Coming  to  the  word  phonograph,  we  find  that 
it,  too,  is  Greek  in  origin.  The  syllable  graph, 
signifying  to  write,  remains,  but  it  is  now  hitched 
to  phono,  from  another  Greek  forefather,  phone, 
meaning  sound.  So  phonograph,  a  common  garden 
variety  word,  has  beauty  in  its  meaning — to  write 
sound. 

Now  enters  Vitagraph.  The  Brooklyn  fathers 
of  this  trade  name  stuck  by  the  Greek,  graph,  but 
went  to  the  Latin  for  Vita.  You're 
right — Vita  means  life.  Really  de- 
scriptive of  a  motion  picture — Vita- 
graph— to  write  life. 

And  then  sound  came  to  the  movies. 
Warner  Brothers,  pioneers  in  this  new, 
articulate  era,  had  appropriately  taken 
over  Vitagraph,  pioneer  of  the  silent 
long,  long  ago.  What  to  call  the  new 
talkie  child? 

They  named  it  Vitaphone.  To  speak 
life.  Life  in  sound.  Mr.  Webster  him- 
self couldn't  have  done  better. 

Around  the  old  Vitagraph  tank  in 
Brooklyn  is  this  melting  pot  of  lan- 
guages and  the  arts,  entertaining  the 
Brooklynites,  the  Argentines,  the 
Greeks,  and  others  of  us  too  numer- 
able to  mention. 


The  Publishers. 


mm 


wm  {fooa)t 

VL&sA  for 


fi®  wmp-SnDdlQDllqj® 

Lucky  instead 


T 


Mi 


4  * 


Be  moderate  — be  moderate  in  all  things, 
even  in  smoking.  Avoid  that  future 
shadow  *  by  avoiding  over-indulgence,  if  you 
would  maintain  that  modern,  ever-youth- 
ful figure.  "Reach  for  a  lucky  instead." 

Lucky  Strike/  the  finest  Cigarette  you  ever 
smoked,  made  of  the  finest  tobacco — The 
Cream  of  the  Crop— "IT'S  TOASTED." 
Lucky  Strike  has  an  extra,  secret  heat- 
ing process.  Everyone  knows  that  heat  puri- 
fies and  so  20,679  physicians  say  that 
Luckies  are  less  irritating  to  your  throat. 


It's  toasted 

Your  Throat  Protection  —  against  irritation  —  against  cough. 


*  We  do  not  say  smoking  Luckies  reduces  flesh.  We  do  say  when  tempted  to  over-indulge,  "Reach  for  a  Lucky  instead." 

  "  :